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Week 4: The Language of Photography – Whose Language? | serendipityscraps
https://serendipityscraps.wordpress.com/2013/02/19/week-4-the-language-of-photography-whose-language
A Visual Anthropology Blog. Week 4: The Language of Photography Whose Language? I have always tended to envision photography (the visual) and language (the verbal) in terms of a relationship, rather as an exchange in the sense given by Victor Burgin, in which photography is a complex of exchanges between the verbal and the visual (in Mitchell, 1994: 282-3 [1]. While browsing through the POYi (Pictures of the Year International) the 70th Winners list [2]. Which is not accompanied by language? And if you m...
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Week 5: Ways of seeing. Photo Wallahs | serendipityscraps
https://serendipityscraps.wordpress.com/2013/03/10/week-5-ways-of-seeing-photo-wallahs
A Visual Anthropology Blog. Week 5: Ways of seeing. Photo Wallahs. MacDougall’s text opened up many viewpoints on photography’s ‘play’ with the ways of seeing. Specifically, imagined as a mirror that doubles us, photography is considered a form of representation that lacks mediation but still, it becomes hard to tell if the represented self is the real lasting one or just temporary that re-identify us. Within these lines, MacDougall mentions two types of photographies. On the ‘cemetery culture’ in Ukrain...
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Week 6: The Fiction of Reality. Through Vertov’s ‘Kino-Eye’ | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/12/week-6-the-fiction-of-reality-through-vertovs-kino-eye
A Visual Anthropology Blog. Week 6: The Fiction of Reality. Through Vertov’s ‘Kino-Eye’. Watching Vertov’ Man with a Movie Camera. For the second time, I found it strangely ethnographic in the sense used by Vaughan (1992) [i]. Namely, Vertov in the position of a cine-anthropologist , but paradoxically not because of his neutrality in documenting ( Documentary and its obsession with realism ) but more because of his structure of reality through editing and montage. Extract from Vertov’s Manisfesto –.
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Week 9 Play and Revelation: Rouch’s Chronique d’un été and Mads Brügger’s Ambassador | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/14/week-9-play-and-revelation-rouchs-chronique-dun-ete-and-mads-bruggers-ambassador
A Visual Anthropology Blog. Week 9 Play and Revelation: Rouch’s Chronique d’un été and Mads Brügger’s Ambassador. In this film, the anthropologist, Jean Rouch, and the sociologist, Edgar Morin, explore the ground of cin. Specifically it can be claimed that the movie is an etno-fiction because of the open script that explores this central motive of acting naturally or challenging the naturalness in front of the camera. This leads to a second point of view, which is the revelation. Although, this veils the...
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Week 8 Observational Cinema: Tim Ash, Maysles Brothers, Frederick Wiseman | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/14/week-8-observational-cinema-tim-ash-maysles-brothers-frederick-wiseman
A Visual Anthropology Blog. Week 8 Observational Cinema: Tim Ash, Maysles Brothers, Frederick Wiseman. This was by far my favorite session in the Visual Anthropology class because of the screenings’ ‘marathon’ that began from the same start line: the debate around cinéma verité. Or the observational cinema, understood mainly as direct cinema or being without a narrator’ voice. After the Ax Fight , we watched some extracts from Salesman. 2003) and The Yes Men Fix the World. Leave a Reply Cancel reply.
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Photographs of the Soviet Union in WWII | serendipityscraps
https://serendipityscraps.wordpress.com/2013/01/23/photographs-of-the-soviet-union-in-wwii
A Visual Anthropology Blog. Photographs of the Soviet Union in WWII. One thought on “ Photographs of the Soviet Union in WWII. June 21, 2013 at 3:28 pm. Thanks for your personal marvelous posting! I quite enjoyed reading it, you’re a great author.I will always bookmark your blog and will come back at some point. I want to encourage you continue your great job, have a nice day! Leave a Reply Cancel reply. Enter your comment here. Fill in your details below or click an icon to log in:. Follow Blog via Email.
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Week 3: Between exoticizing and documenting: photography as ethnography? | serendipityscraps
https://serendipityscraps.wordpress.com/2013/01/26/week-3-between-exoticizing-and-documenting-photography-as-ethnography
A Visual Anthropology Blog. Week 3: Between exoticizing and documenting: photography as ethnography? To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder – a soft murder, appropriate to a sad, frightened time. Susan Sontag, On Photography. 3 thoughts on “ Week...
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Week 10 The Act of Killing | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/15/week-10-the-act-of-killing
A Visual Anthropology Blog. Week 10 The Act of Killing. Although, I had the chance to watch The Act of Killing (2012). During a film festival in Budapest ( Ha Érteni Akarod a Világod , 2013), I have to admit that I’ve been hesitating to write about it. I can’t figure it out if it was the overwhelming 115 min during which I kept repeating to myself this can’t be real. So a bit overwhelming when attempting to read. Of killing. So, as in Jean Rouch’s cinema vérité. Is developed by real persons not actors, b...
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Week 7: Forest of Bliss and the Rhetoric of Metaphor | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/12/week-7-forest-of-bliss-and-the-rhetoric-of-metaphor
A Visual Anthropology Blog. Week 7: Forest of Bliss and the Rhetoric of Metaphor. Specifically, he detaches from the usual devices that extend the visual information in the documentary tradition and we are left to become knowledgeable through experience and through text (Banks, 1992) [ii]. Meaning the event or the action content of the film. But I would say that the aspect of intentionality in the film is introduced by the quotation from Yeats’s translation of the Upanishads:. As in Dead Birds. Enter you...
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