The ethical and ideological implications of cross-cultural image-making continue to stir debate among anthropologists, film scholars, and museum professionals. This innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures. Featuring more than 100 illustrations, the book examines museums of natural history, world's fairs, scientific and popular photography, and the early filmmaking efforts of anthropologists and commercial producers to investigate how cinema came to assume the role of mediator of cultural difference at the beginning of the twentieth century.
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A significant contribution to knowledge about methods of recording and presenting visual culture of non-Western peoples in the late 19th and early 20th centuries. Choice With fascinating examples and illustrations culled from a number of international archives, Wondrous Difference is an invaluable resource for cinema historians, anthropologists, archivists, and museum professionals... Griffiths is working within a new tradition of scholars approaching visuality with a historically integrated and culturally critical perspective... The masterful way in which Griffiths navigates and reveals the complexity of these relationships sets a standard for others to follow. -- Amy J. Staples Film Quarterly Wondrous Difference will make an excellent... textbook for advanced undergraduate or graduate courses in both visual anthropology and the history of anthropology. -- Deborah Poole Current Anthropology 6/1/05
About the Author
Alison Griffiths is assistant professor in the Department of Communication Studies at Baruch College, City University of New York. The work on which this book is based won the Society for Cinema Studies dissertation prize.
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ONE OF THE most productive sites for historical and theoretical investigation of the precinematic roots of American ethnographic film is the nineteenth-century museum of natural history, an institution that offered a veritable catalogue of popular figurations of the ethnographic Other. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
ONE OF THE most productive sites for historical and theoretical investigation of the precinematic roots of American ethnographic film is the nineteenth-century museum of natural history, an institution that offered a veritable catalogue of popular figurations of the ethnographic Other. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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