Hysterical tetanus in the Victorian South Pacific

In this chapter, Daniel Simpson delineates a complex model of imperial and cultural entanglement in the context of the death of the naval captain James Graham Goodenough under a hail of poisonous arrows on the Santa Cruz Islands in 1875. This was a moment in which previously vague British fears of the poisons of Santa Cruz were seemingly confirmed. However, the ship’s surgeon, Adam Brunton Messer, pointed to certain medical, cultural, and environmental factors that countered this popular hysteria. Superstitious dread of the reputed poisons of the region, Messer argued, had predisposed British sailors to a nervous irritability which either mimicked or encouraged the onset of tetanus. Furthermore, he insisted, endemic neurosis amongst sailors was responsible for the increasing prevalence of tetanus in the wounds of those struck by ostensibly poisonous arrows. Drawing upon new psychopathological understandings of the relations between mind and body, Messer effectively collapsed any distinctions between ‘civilised’ and ‘uncivilised’ peoples clashing in the South Pacific by imagining that modern medical education might work in both cases to supplant antiquated superstitions and anecdotal evidence. His medical hypotheses, deployed at a juncture of intense intercultural contact, served both to characterise and to realise a form of medical modernity.

in Progress and pathology
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Medicine and culture in the nineteenth century

This collaborative volume explores changing perceptions of health and disease in the context of the burgeoning global modernities of the long nineteenth century. During this period, popular and medical understandings of the mind and body were challenged, modified, and reframed by the politics and structures of ‘modern life’, understood in industrial, social, commercial, and technological terms. Bringing together work by leading international scholars, this volume demonstrates how a multiplicity of medical practices were organised around new and evolving definitions of the modern self. The study offers varying and culturally specific definitions of what constituted medical modernity for practitioners around the world in this period. Chapters examine the ways in which cancer, suicide, and social degeneration were seen as products of the stresses and strains of ‘new’ ways of living in the nineteenth century, and explore the legal, institutional, and intellectual changes that contributed to both positive and negative understandings of modern medical practice. The volume traces the ways in which physiological and psychological problems were being constituted in relation to each other, and to their social contexts, and offers new ways of contextualising the problems of modernity facing us in the twenty-first century.

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The French human sciences and the crafting of modern subjectivity, 1794–1816

Laurens Schlicht opens the volume at the moment of the French Revolution, which inculcated a profound sense of moral and political shock within its citizens. Writers within medicine, politics, and the developing human sciences maintained that it had been necessary to inflict this kind of shock in order to dismantle the rigid structures of society and make way for a radically new regime. Sustained metaphors of the medicalised human body, the social body, and the body politic commingled in the critical questions that were raised about the relationship between individuals and their wider social collective, and about the ways in which the passions might be either stirred into action or carefully regulated by external influences. Manifestations of this conscious interaction between medical and political spheres included the emergent psychiatric practice of intentionally shocking patients as a form of therapy, and the evolving instruction of deaf-mute pupils, as schools and asylums provided experimental spaces for controlling and adjusting the passions. In addition to an overt politicisation of the body and its responses to shock and strain, these discussions carried sustained analyses of the medicalised human body, and informed an evolving scientific practice directed towards an essentialised sphere of individuality.

in Progress and pathology
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Health as moral economy in the long nineteenth century

Christopher Hamlin takes up the unstable and often polarised relationship between cultural experience and interpretation on the one hand, and biomedical objectivity on the other. In so doing, he draws attention to a phenomenon which is so frequently missing from current scholarship: embodied subjectivity. The chapter ranges widely from public health archives to literary texts, interrogating E. P. Thompson’s seminal concept of the ‘moral economy’ through the social history of health, and questioning how we might meaningfully register the experiences of those whose words and emotions are lost to history. Questioning the very voices and vocabularies through which the social history of health is constructed, Hamlin recognises both the usefulness and the limitations of our approaches to illness and the history of medicine, while adopting an integrative, holistic approach to notions of disease. Paralleling the historical figure of the nuisance inspector with the gamekeeper (or lover) in D. H. Lawrence’s Lady Chatterley’s Lover, and the tales of patients of Hardwicke Hospital, Dublin, with the complaints of Agnes Fleming in Charles Dickens’s Oliver Twist, he opens up the possibilities of work which crosses literary and medical histories as a context in which the formation of an embodied subjectivity might be considered.

in Progress and pathology
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A history of authorship in ethnographic film

Beyond Observation offers a historical analysis of ethnographic film from the birth of cinema in 1895 until 2015. It covers a large number of films made in a broad range of styles, in many different parts of the world, from the Arctic to Africa, from urban China to rural Vermont. It is the first extensive historical account of its kind and will be accessible to students and lecturers in visual anthropology as well as to those previously unfamiliar with ethnographic film.

Among the early genres that Paul Henley discusses are French reportage films, the Soviet kulturfilm, the US travelogue, the classic documentaries of Robert Flaherty and Basil Wright, as well as the more academic films of Margaret Mead and Gregory Bateson. Among the leading film-makers of the post-war period, he discusses Jean Rouch, John Marshall and Robert Gardner, as well as the emergence of Observational Cinema in the 1970s. He also considers ‘indigenous media’ projects of the 1980s, and the ethnographic films that flourished on British television until the 1990s.

In the final part, he examines the recent films of David and Judith MacDougall, the Harvard Sensory Media Lab, and a range of films authored in a participatory manner, as possible models for the future.

This chapter discusses developments in ethnographic film-making on British television in the 1980s and early 1990s. It describes how, in the late 1970s, a dispute between management and unions at Granada Television led a number of the leading producer-directors to leave Disappearing World and set up similar series elsewhere on British television. It was also around this time that Channel 4 was set up to promote innovative programming. This included two contrasting para-ethnographic series: Caught in a Web, three films directed by Toni de Bromhead, which compared a Dorset village with a small town in the south of France, and Baka, a feature-length film about a gathering-hunting group of the Cameroon rainforest, directed by Phil Agland. The BBC also broadcast various para-ethnographic series, including The Ark, about London Zoo, shot and directed by Molly Dineen. The final part of the chapter considers the cycle of nine films about the Maasai of East Africa in which Melissa Llewelyn-Davies was involved, first as a researcher and later as director, between 1974 and 1993.

in Beyond observation
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The principles of Observational Cinema

The chapter begins by describing how, in 1966, at the University of California Los Angeles (UCLA), Colin Young set up the Ethnographic Film Program through which the principles of Observational Cinema were first developed. Young had a sophisticated knowledge of cinema but had neither experience as a practical film-maker, nor a background in anthropology. He therefore left the practical working out of these principles to various film-makers associated with the programme, including Paul Hockings and Mark McCarty, David Hancock and Herb di Gioia, and most of all, David and Judith MacDougall. The chapter then offers a summary of the most salient features of this praxis as formulated by Young himself, but also by David MacDougall. The final part of the chapter describes how Observational Cinema evolved further after Young returned to Britain in 1970 to run the National Film and Television School (NFTS) and encouraged further ethnographic film-making from there.

in Beyond observation

After an initial discussion of the tepid reception of television ethnographic films by academic anthropologists, this chapter charts the decline of this kind of programming in the 1990s. Although there were temporary resurgences, the overall pattern was one of retreat. By 2000, films based directly on academic ethnographic research had all but disappeared. During this period, there had however been a number of high quality para-ethnographic series, including two series on China made by Phil Agland and a number of films by Kim Longinotto about women contesting restrictive gender roles in different locations around the world. But these too became rare after 2000. If ethnographic film still exists at all on British television today, it is largely because anthropology graduates continue to enter the industry, bringing an ethnographic sensibility to their work. The chapter concludes by considering the legacies of the ‘golden era’. These include the films themselves, which are still widely used in teaching. They also include the Granada Centre for Visual Anthropology, which since its foundation in 1987 has trained several hundred people in ethnographic film-making.

in Beyond observation
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The complexities of collaborative authorship

During the 1970s and 1980s, having previously sought to make films in an objective manner, certain leading ethnographic film-makers adopted more reflexive and participatory praxes. These film-makers included Timothy Asch who worked with Patsy Asch in Indonesia, Ian Dunlop who worked with the Yolngu of northwest Australia, and John Marshall who made a series of adversarial films about the situation of the San community whom he had known since the 1950s. The chapter also considers the collaborative project of Sarah Elder and Leonard Kamerling with the Alaskan Yup’ik. It concludes that while there can often be a genuine overlap of interests between subjects and film-makers, notably with regard to recording traditional custom for future generations, there is also almost always a certain mismatch, primarily because the film-makers seek to address an external audience, whereas the subjects have in mind an internal one. In reconciling these interests, film-makers could find themselves producing films that spoke neither for themselves, nor for the subjects, which meant, in effect, that they spoke for no one. Some film-makers reacted to this situation by reverting to a less actively collaborative praxis while simultaneously encouraging the subjects to make their own films.

in Beyond observation
Recent films of David and Judith MacDougall

This chapter considers the MacDougalls’ films after they left the Australian Institute of Aboriginal Studies in the late 1980s. Since then, they have produced fifteen films, representing almost half their total oeuvre to date. While they have continued to draw upon key elements of Observational Cinema, they have also expanded this praxis through experimentation and innovation. One important difference with the earlier work is that only two films have involved both of them. Of the remainder, two were made by Judith working alone, while all the others were solo works by David. Another difference is that only the first two films were shot on 16 mm: the remainder were shot on digital video. All but two films were shot in India and these mostly concern children on the threshold of adolescence living in predominantly educational institutions. This particular focus was a reflection of David’s developing conviction that, far from representing a progression from childhood, adulthood often involves a ‘paring down of children’s discoveries’. The chapter concludes that though these recent films have been quite varied, what they have in common with the MacDougalls’ earlier work is immersive fieldwork, a collaborative relationship with the subjects, and a high degree of film craft.

in Beyond observation