Visual anthropology and field research

Pre-requisites: Students must meet the requirement for registration.

Course objectives: The teaching process is focused on mastering fundamental comparative theoretical concepts that construct the foundation for visual anthropology, anthropology of media and film studies, and the adoption of practical techniques of field production of visual materials.

Course description: Basic concepts, a short comparative history of film and visual anthropology, anthropology of media and film study, critical analysis of the major debates regarding the nature of the relationship of film and anthropology that marked the later period of development, discussions concerning issues of the use of films and other visual materials, ethnographic materials, and implementation of various approaches to filming in the field as research methods will take place in theoretical block classes. Through clusters of practical training, students will learn about the technological features of today's mini camcorder, the fundamental techniques of shooting, working with the camera in terms of field research, editing procedures, the procedures of creating multimedia presentations, different approaches to attaining visual materials, and strategies for the presentation of anthropological knowledge through visual materials.

Learning Outcomes: Students acquire skills and knowledge necessary for independent production or employment in research of different kinds of visual materials, and resources.

Literature/Reading:

• Banks, Marcus and Howard Morphy, Eds., Rethinking Visual Anthropology, Yale University Press, New Haven and London, (1997) 1999.
• Collier, John, JR. And Malcolm Collier, Visual Anthropology: Photography as a Research Method, (Revised and Expanded Edition), University of New Mexico Press, 1986.
• Grimshaw, Ana, The Ethnographer’s Eye. Ways of Seeing in Modern Anthropology, Cambridge University Press, Cambridge, 2001.
• Heider, G. Karl, Ethnographic Film,University of Texas Press, Austin, (1976) 1998.
• Heider, G. Karl, Seeing Anthropology. Cultural Anthropology Through Film, Second Edition, Allyn and Bacon, Boston/London/Toronto, (1997) 2001.
• Ruby, Jay, Picturing Culture. Explorations of Film and Anthropology, The University of Chicago Press, Chicago, 2000.
• Worth, Sol and John Adair, Through Navaho Eyes. An Exploration in Film Communication and Anthropology, University of New Mexico Press, (1972) 1997.
• Pink, Sarah, Doing Visual Ethnography. Images, Media and Representation in Research, Sage Publications, London, 2001.
• S. Naumović, "Pitanje vizuelne gradje u etnologiji", Etnološke sveske IX, 1988, 113-123.
• Balaš, Bela, Filmska kultura, Filmska biblioteka, Beograd, 1948.
• Barnouw, Erik, Documentary. A History of the Non-Fiction Film, Oxford University Press, New York, 1974.
• Boonzajer Flaes, Robert M., Ed., Eyes Across the Water. The Amsterdam Conference on Visual Anthropology and Sociology, Het Spinhuis, Amsterdam, 1989.
• Caton, Steven C., Lawrence of Arabia. A Film’s Anthropology, University of California Press, Berkeley, 1999.
• Daković, Nevena, Kinematografija raspada Jugoslavije. Plamen na ničijoj zemlji, http://www.vreme.com/cms/view.php?id=373841.
• De France, Claudine, Cinema et anthropologie, Editions de la Maison des Sciences de l’Homme, Paris, 1982.
• Denzin, Norman K., Images of Postmodern Society. Social Theory and Contemporary Cinema, Sage Publications, London / Thousand Oaks / New Delhi, 1991.
• de Heusch, Luc, Cinema et sciences sociales. Panorama du film ethnographique et sociologique, UNESCO, Paris, 1962.
• Devereaux, Leslie and Roger Hillman, Eds., Fields of Vision. Essays in Film Studies, Visual Anthropology and Photography, University of California Press, Berkeley / Los Angeles / London, 1995.
• Iordanova, Dina. Cinema of flames: Balkan film, culture and the media. BFI, London, 2001.
• Hockings, Paul, Ed., Principles of Visual Anthropology, Mouton Publishers, The Hague/Paris, 1975.
• Hockings, Paul and Yasuhiro Omori, Eds., Cinematographic Theory and New Dimensions in Ethnographic Film, Senri Ethnological Studies No. 24, National Museum of Ethnology, Osaka, 1988.
• Horton, A.J., The Celluloid Tinderbox. Yugoslav Screen Reflections of a Turbulent Decade, Central Europe Review, 2000.
• Križnar, Naško, ur., Kako vizualiziramo kulturo? Reprezentacije kulture v luči etnografskega filma, Arhiv Republike Slovenije, Ljubljana, 2006.
• Kuk, Dejvid A., Istorija filma I, Clio, Beograd, 2005.
• MacDougall, David, Ethnographic Film: Failure and Promise, Annual Review of Anthropology, Vol. 7, (1978), pp. 405-425.
• Goulding, Daniel J., Liberated Cinema. The Yugoslav Experience 1945-2001, Bloomington: Indiana University Press, 2002 (2nd ed.).
• Levi, Pavle, Disintegration in Frames. Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema, Stanford University Press, 2007.
• Munitić, Ranko, Dokumentarni film – da ili ne?, Institut za film, Beograd, 1982.
• Mutić, Nedin, Predstavljanje „nas“ i „njih“ u (posle)ratnoj balkanskoj kinematografiji, u: G. Đerić, ur., Intima javnosti, fabrika knjiga/InSTIFDT, Beograd, 2008, 309-333.
• Omon, Žak i Mišel Mari, Analiza film(ov)a, Clio, Beograd, 2007.
• Rhode, Eric, A History of the Cinema from its Origins to 1970, Penguin Books, 1984 (1976).
• Stojanović, Dušan, ur., Teorija filma, Nolit, Beograd, 1978.
• Sturken, Marita and Lisa Cartwright, Practices of Looking. An Introduction to Visual Culture, Oxford University Press, Oxford / New York, 2001.
• Gocić, Goran, Notes From the Underground. The Cinema of Emir Kusturica, Wallflower Press, 2001.
• Horton, A.J with Dan Georgakas and Angelike Contis, Is There a Balkan Cinema?: A Filmmakers’ and Critics’ Symposium, Cineaste, http://www.cineaste.com/articles/is-there-a-balkan-cinema.htm.
• Iordanova, Dina, Balkan Cinema in the 90s: an Overview, Afterimage, Jan., 2001, http://findarticles.com/p/articles/mi_m2479/is_4_28/ai_76560786/print?tag=artBody;col1
• Daković, Nevena, War in the Hall of Mirrors. NATO Bombing and Serbian Cinema, in: Hammond, Andrew, Ed., The Balkans and the West. Constructing the European Other, 1945-2003, Ashgate publishing, London, 2004.
• Horton, Andrew. The Films of Theo Angelopoulos: A Cinema of Contemplation. Princeton, NJ: Princeton University Press, 1997.
• Iordanova, Dina, Editor. Cinema of the Balkans. London: WallflowerPress, 2006.
• Liehm, Mira and Liehm, Antonin J. The Most Important Art: Soviet and East European Film After 1945. Berkeley and Los Angeles: University of California Press, 1977.
• Stoil, M. J. Balkan Cinema: Evolution after the Revolution. Ann Arbor: University of Michigan, 1982.
• Taylor, Richard, Graffy, Julian, Wood, Nancy and Iordanova, Dina, Editors. BFI’s Companion to Eastern European and Russian Cinema. London: British Film Institute, 2000.
• Tutui, M. Manakia Bros. or the Moving Balkans, Bucharest: RomanianFilm Archive (In Romanian and English), 2004.
• De Hadeln, Moritz, Editor. Romania: The Documentary Films 1898-1990. Nyon: Festival International du film documentaire, 1990.
• Elsaesser, Thomas. “Our Balkanist Gaze: About Memory’s No Man’s Land.” In European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press, pp. 356-73, 2005.
• Goulding, Daniel J., Editor. Post New-Wave Cinema in the Soviet Union and Eastern Europe. Bloomington: Indiana University Press, 1989.
• Holloway, Ron. The Bulgarian Cinema. Rutherford, N.J.: Fairleigh Dickinson University Press, 1986.
• Koliodimos, D., Editor. The Greek Filmography, 1914 Through 1996. New York: McFarland & Company, 1999.
• Sarkisova, Oksana and Péter Apor, Eds., Past for the Eyes. East European Representations of Communism in Cinema and Museums after 1989, CEU Press, Budapest, 2008.