Get American Ethnographic Film and Personal Documentary: The PDF

By Scott MacDonald

ISBN-10: 0520275624

ISBN-13: 9780520275621

American Ethnographic movie and private Documentary is a severe historical past of yank filmmakers an important to the improvement of ethnographic movie and private documentary. The Boston and Cambridge zone is amazing for nurturing those methods to documentary movie through associations corresponding to the MIT movie part and the movie learn middle, the wood worker middle and the visible and Environmental reviews division at Harvard. Scott MacDonald makes use of pragmatism’s concentrate on empirical adventure 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. by way of exploring the cinematic, own, relationships among those entire filmmakers, MacDonald exhibits how a pioneering, engaged, and uniquely cosmopolitan method of documentary constructed during the last part century.

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Additional info for American Ethnographic Film and Personal Documentary: The Cambridge Turn

Sample text

E X P U L SIO N F R OM E D E N : B I T T E R M E LON S A N D N ! A I , T H E ST ORY OF A ! K U N G WOM A N But things had changed; it came out that . . two entire bands of Bushmen whom we had known at Gautscha, and many Bushmen from Gam, including the husband of Beautiful Ungka, had been taken away by Europeans to work on the farms. Three times European farmers had come, having followed in the tire tracks we ourselves had left behind the last time. ” The Bushmen had believed them, had gone for the ride, and of course were never seen again.

This new context allows those of us who know Marshall’s early films to reexperience them in new ways. Kung that Marshall had finished since The Hunters. Kung films that followed The Hunters. In retrospect, we can imagine that working with the footage that recorded what he considered the happiest experiences of his life was a way of revisiting his friends during the first years of his exile. Kung. Here, he discovered the dramatic changes that had occurred in his absence. ai, among the most frequent participants in his films, had a role in Jamie Uys’s feature.

I asked him if he remembered his father’s music.  . 42 For Marshall, whatever satisfaction the artistry of Bitter Melons (or for that matter, the artistry of Oukwane and the other musicians and dancers in the film) gave him, and whatever pleasure audiences might take from his film, were rendered pointless, once one understood the historical realities within which this film was made. And, rather than ignore those historical realities any further, Marshall committed the remainder of his filmmaking life, or at least that portion of his filmmaking life that had to do with the peoples of the Kalahari, to a direct engagement with them.

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