- Hardcover: 328 pages
- Publisher: Princeton University Press; illustrated edition edition (14 Jan 1999)
- Language English
- ISBN-10: 0691012350
- ISBN-13: 978-0691012353
- Product Dimensions: 24.1 x 15.9 x 3.2 cm
- Amazon Bestsellers Rank: 5,237,129 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Review
With the voice of an essayist that combine the artistic sensibility of a Bresson with the writerly craft of a Barthes, MacDougall thinks through a theory of the documentary in terms of epistemological issues. . . . [T]his is a first-rate book. -- "Choice
David MacDougall . . . has carried out more research in non-Western cultural contexts than most academic anthropologists and, as this book attests, is well read in the literature. . . . The twenty or so films that he has both shot and directed have been highly influential in establishing a model of good practice in ethnographic film-making. MacDougall also has the ability to write elegantly and reflectively about what he does. -- Paul Henley, London Review of Books --This text refers to the Paperback edition.
David MacDougall . . . has carried out more research in non-Western cultural contexts than most academic anthropologists and, as this book attests, is well read in the literature. . . . The twenty or so films that he has both shot and directed have been highly influential in establishing a model of good practice in ethnographic film-making. MacDougall also has the ability to write elegantly and reflectively about what he does. -- Paul Henley, London Review of Books --This text refers to the Paperback edition.
Product Description
This text articulates central issues in the relation of film to anthropology. The essays provide an overview of the history of visual anthropology, as well as commentaries on specific subjects, such as point-of-view and subjectivity, the use of subtitles, the role of the cinema subject, the difference between films and written texts and between the position of the filmmaker and that of the anthropological writer. Ultimately, the author disputes the view that ethnographic filmmaking is merely a visual form of anthropology, maintaining instead that it is a radical anthropological practice, which challenges many of the basic assumptions of the discipline of anthropology itself.
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First Sentence
A PERSON I HAVE filmed is a set of broken images: first, someone actually seen, within touch, sound, and smell; a face glimpsed in the darkness of a viewfinder; a memory, sometimes elusive, sometimes of haunting clarity; a strip of images in an editing machine; a handful of photographs; and finally the figure moving on the screen, of cinema itself. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
A PERSON I HAVE filmed is a set of broken images: first, someone actually seen, within touch, sound, and smell; a face glimpsed in the darkness of a viewfinder; a memory, sometimes elusive, sometimes of haunting clarity; a strip of images in an editing machine; a handful of photographs; and finally the figure moving on the screen, of cinema itself. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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