Cine-Ethnography (Visible Evidence) [Jean Rouch, Steven Feld] on . *FREE* shipping on qualifying offers. One of the most influential figures in. Cine-Ethnography is a long-overdue English-language resource that collects Rouch’s key writings, interviews, and other materials that distill his thinking on. Ciné-Ethnography: Jean Rouch. Edited and translated by Steven Feld. Minneapolis, MN: University of Minnesota Press, $ cloth; $ paper.
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It seemed that the Africans treated their car like stereotyped “dumb hillbillies” would, the type “used as comic relief in Hollywood films and on American television” Michel Brault was brought over from Canada, where he had shot short films with hand-held camera and synchronous sound for the Canadian Film Board. Mr J L Morrison rated it it was amazing May 22, His first response was for himself.
I could also dip into French film journals, like Cahiers and Positif, talk about the latter’s take on Cukor, Minnelli, etc. To understand the context of Rouch’s transformation from engineer to anthropologist filmmaker, we would do better to think back to the building of the pyramids than anything resembling “roadwork” today. But on another level, he doesn’t.
Scathing of the corrupting love of money and power, Mambety’s not completed Histoires de petits gens Stories of little people roich, unsentimentally, on the marginal poor, who would not give up, but managed to make lives for themselves against all odds.
But in fact it allowed “a feeling of trust to develop among the actors and crew, which was indispensable for suppressing inhibitions before the camera always present and ready to record at any moment ” Cine-ethnographj University Press, Like myself, Feld has loved seeing a new generation of film and anthropology students respond so profoundly to Rouuch work, and his Editor’s Introduction is friendly to the neophyte as well as the initiated, driven by his conviction that the work matters for cinema and anthropology.
Tuesday, 14 December Last Updated: This essay is dedicated to the memory of Jean Rouch, who died at the age of 86 in a car accident in Niger in February this year. Born inchild of the Pourquoi Pas? How do students respond dine-ethnography Chronicle in Melbourne, Australia, forty years later, students who have been warned that many of its techniques have been taken on board, that their video copy will lack the crispness, roych beauty, of the no longer available 16mm print?
Only in the 70s and 80s did some of his writings and interviews appear in English.
Jean Rouch – Wikipedia
The possibility of “feedback” film, which Rouch calls “audiovisual reciprocity”, becomes a stimulant for mutual awareness: Account Options Sign in. A true African cinema must be made by Africans themselves. His third response to the question is that he makes his films for “everyone, for the largest viewing public possible”: On the Vicissitudes of the Self: Just a moment while we sign you in to your Goodreads account.
People are aware, say Cineaste, that Africa is in transition, but in this film “there doesn’t seem to be anything positive going on, concretely or in consciousness” People’s limbs stiffen, they walk like monsters, their bodies losing softness, familiarity; they foam at the mouth.
There was no concrete, no tarmac — no maps, nothing at all. University of Minnesota Press Coming soon. Indeed, when Rouch and Morin provocatively suggest the young people don’t give a damn about the war in Algeria, the sound recordist and cameraman join in the ensuing argument. He studied civil engineering before turning to film and anthropology in response to his experiences in West Africa during World War II.
List of important publications in anthropology. After the war, they would take on the collective journalistic identity of “Jean Pierjean”, go down the Niger River and write articles, film and take photographs.
At the First International Festival of Ethnographic Film in Florence, Morin and Rouch had voted cine-ethmography John Marshall and Robert Gardner’s film on the bushmen, The hunters USA,since it truly revealed our inconveivable yet certain kinship with that tough and tenacious humanity, while all other films have shown us its exotic foreignness. His second response is that film is the jeann means he has to show someone else how he sees him.
It would be comforting if such omissions were “ancient history” now, but of course they are not. But much of the time the solidarity, friendship and gouch seem part of a male domain, a male imaginary. Jean Rouch began his long association with African subjects inwhen he arrived in Niamey as a French colonial hydrology engineer to supervise a construction project in Niger.
Vera Marques marked it as to-read Dec 11, What the Hauka did was creative and implicitly revolutionary, just as the authorities feared”