By Arnd Schneider, Caterina Pasqualino
An overseas diversity of well known anthropologists, movie students and experimental film-makers interact in vivid dialogue and supply very important new insights for all scholars and students inquisitive about generating their very own movies. this can be essential analyzing for college students and students in quite a number disciplines together with anthropology, visible anthropology, visible tradition and picture and media studies.
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Additional info for Experimental Film and Anthropology
C. Gundlach and S. Fischer Stiftung. Image courtesy of Katja Pratschke. gambarr (a particular tar made from ironbark roots, used as a kind of glue to make spears called womeras). This detailed conversation also brings “alive” the persons in the photos (they having passed away by the time of the recording in 1983) and in the recordings (their brothers, having passed away by the time the photofilm was made in 2009). Haviland explains the process in some detail: In about 1977, at their request, I accompanied a couple of old men (one my fictive ”father“ in the community) to make the ”traditional“ tar (from the root of the ironbark tree) used as a kind of glue to make spears, wommeras, etc.
22. Ibid. 285. Rees, A History of Experimental Film and Video, 87. 24. Catherine Russell, Experimental Ethnography, 193–238. On Deren’s notions of film’s effects for spectators, see Maya Deren, Ecrits sur l’art et le cinéma (Paris: Paris Expérimental, 2004), 21. Also, Alain Alcide Sudre wrote that Deren’s film ritual is characterized by the depersonalization of the individual. See Dialogues théoriques avec Maya Deren. Du cinèma expérimental au film ethnographique (Paris: L’Harmattan, 1996), 377–8.
G. g. PowerPoint). 6). Haviland uses to subtle effect zooming and panning across, or down, the photographs to emphasize details of material or of the particular person(s), addressed or speaking at that moment in the narrative EXPERIMENTAL FILM AND ANTHROPOLOGY 36 (soundtrack). g. The Civil War (1990), or of iconic practices, such as Baseball (1994), can now easily be achieved with computer programs. Burns, as he himself admitted, was not the first to use the technique now largely associated with his name (he mentions photographer and film-maker Jerome Liebling as his influence)23, and we have of course seen earlier in this essay how Alain Resnais already had used it in his films on painters, and presumably it has been around as long as stills and freeze frames were used in film, sometimes for entire sequences.