Download PDF by Scott MacDonald: American Ethnographic Film and Personal Documentary: The

By Scott MacDonald

ISBN-10: 0520275624

ISBN-13: 9780520275621

American Ethnographic movie and private Documentary is a serious heritage of yankee filmmakers the most important to the advance of ethnographic movie and private documentary. The Boston and Cambridge sector is amazing for nurturing those techniques to documentary movie through associations similar to the MIT movie part and the movie research heart, the wood worker heart and the visible and Environmental experiences division at Harvard. Scott MacDonald makes use of pragmatism’s specialize in empirical event as a foundation for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. via exploring the cinematic, own, relationships among those complete filmmakers, MacDonald indicates how a pioneering, engaged, and uniquely cosmopolitan method of documentary built over the last part century.

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But for the filmmaker the same images only reaffirm that the subject existed. Instead of imagining, there is remembering; instead of discovery, there is recognition; instead of curiosity, there is foreknowledge and loss. David MacDougall 10 The Hunters (1957), shot and edited by John Marshall (with some postproduction assistance by Robert Gardner),11 remains, by far, the best-known film in the Marshall family’s saga of Ju/’hoansi life, and among the best-known of all ethnographic films. Indeed, in the United States The Hunters seems to have revived a tradition of representing far-flung cultures that was begun by Edward Curtis in In the Land of the Head-Hunters (also known as In the Land of the War Canoes) (1914) and Robert Flaherty in Nanook of the North (1921) and Moana (1926).

Courtesy Documentary Educational Resources. dialogue—and this film too is largely dialogue—is not synchronized, though presumably it was recorded during the same extended moment as the imagery, and Marshall provides us with subtitled translations (fig. 3). As commentators on A Joking Relationship have often noted, what gives this film its energy is Marshall’s depiction of the complex emotions at work in the scene. ai’s history of defiance of social convention). What Marshall captures in A Joking Relationship is both the open affection of an uncle and a niece, a relationship rarely accorded attention in cinema of any kind, and the underlying sexual dimension of this, and perhaps any, relationship between mature men and their young relatives.

Kay to wrestle around some more, for both the fun of it and for John Marshall and his camera. A different sort of idyll, though related to A Group of Women and A Joking Relationship in both form and implication, is Baobab Play (1974), finished twelve years after these films. Here again, a baobab tree is the location of the action, or really a kind of nonaction, and here too, Marshall forgoes voice-over, and even subtitles, since what is happening is quite clear without verbal intervention. All we see during the 8 minutes of Baobab Play is several boys playing around and in the baobab: the boys in the tree throw sticks, leaves, berries down at the group on the ground, and the boys on the ground respond in kind.

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American Ethnographic Film and Personal Documentary: The Cambridge Turn by Scott MacDonald

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