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Christian Suhr

freely as they want. I hope nothing has followed me on the way home from the mosque. I know I shouldn't be afraid of the jinn. As I start to write this fieldnote my left index finger begins to vibrate. I know this feeling from before, but I don't like that it starts now. It stops. Thank you, God. Cinema fist I have suggested the term self-sacrifice as somehow useful in understanding healing in psychiatric healthcare and Islamic exorcism, but I have not specifically discussed how such

in Descending with angels
Christian Suhr

and Castaing-Taylor are pivotal figures within the formation of observational cinema – a distinctive style of documentary filmmaking that uses the mimetic power of the camera to not simply mirror everyday reality, but facilitate a process of merging the object of perception with the body of the perceiver. Through long uninterrupted shots, the camera is used as ‘a physical extension’ of the cameraperson's perceptual organs, thus allowing viewers intimate access to the filmmaker's engagement with the social reality portrayed (Castaing-Taylor 1996 : 75; Henley 2004

in Descending with angels
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Christian Suhr

amount of time they had to spend as secretaries for the distribution, documentation, and keeping of protocols of their patients’ consumption of psychotropic medicine. Recall the nurse cited in Chapter 2 : ‘I can't just tell the patient that I don't understand the medicine and that I wouldn't dare to take it myself. Shouldn't we go to the cinema once a week instead? … We have our key tasks: to diagnose and to find the correct medication. Medication, this is the guys who get the money, this is where you have evidence. Nobody receives money for

in Descending with angels
Open Access (free)
Lorenzo Ferrarini and Nicola Scaldaferri

into the documentary arts and cinema. The first photographer to collaborate with De Martino was Arturo Zavattini, son of Cesare, one of the principal figures of Italian neorealist cinema in the post-war period. Through evocative black and white images, Arturo Zavattini’s work depicted life in the poorest neighbourhood of the village of Tricarico. These images have subsequently become part of the canonical iconography of the region. Ando Gilardi followed in Zavattini’s footsteps, collaborating with De Martino mostly while he was conducting research into magic. For his

in Sonic ethnography
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Order
Mona Abaza

Cinema Radio, built in the 1930s (Al-Ismaelia, n.d.). Al-Ismaelia has been hosting art installations and exhibitions, which certainly strengthened the image of a unique metropolitan flavour. Several trendy cafés, catering to the youth, opened around that area. In a way, this Tale IV: Order 163 space is becoming a window to the nostalgia of Cairo’s colonial grandeur. The aim is obviously a neo-liberal form of gentrification of the Downtown centre, whereby art and culture (including revolutionary art) have already been instrumentalised in the process of further

in Cairo collages
Christian Suhr

assumption of a correspondence between subjective human perception and the recordings of a camera, gradually I have become more sceptical. A number of anthropologists, theorists, and filmmakers have pointed out how film – while clearly operating in different sensorial and conceptual registers than written text – still reduces lived reality and human experience, no less than textual categories and analytic schemes (see e.g. Arnheim 1957 ; Trinh 1991 ; Vaughan 1992 ; Weiner 1997 ; Marks 2000 ). Ethnographic filmmaking, and especially the branch of observational cinema

in Descending with angels
Notes on developing a photo-ethnographic practice in Basilicata
Lorenzo Ferrarini

, including family and studio photography (Mirizzi 2010 ). It was, however, with the work of Italian photographers such as Fosco Maraini, Federico Patellani and Mario Carbone that the photographic representation of Basilicata, and more broadly of the Italian South, became strongly characterised by a neorealist aesthetic, a movement that during the 1950s also spanned cinema, painting and literature (Haaland 2012 ; Konewko 2016 ; Shiel 2006 ). The photographers who worked with De Martino – sometimes with him during his research trips, sometimes on their own but

in Sonic ethnography
Exhumations of Soviet-era victims in contemporary Russia
Viacheslav Bitiutckii

gather at the Spartak cinema in Voronezh, from where they set out for Dubovka to take part in the sombre reinterment ceremony, and in the rally commemorating the victims of political repression. And this, too, is to be understood as one outcome of the searches and exhumations. As is clear from what has been said, from 1989 to the present, the driving force behind the exhumation and reinterment of the victims of political repression has undoubtedly been democratic society: journalists, civic groups and repressed people’s organizations, and search organizations

in Human remains and identification
Open Access (free)
How grave robbers, activists, and foreigners ended official silence about Stalin’s mass graves near Kiev
Karel C. Berkhoff

glasnost (openness or transparency), the publicity was followed by rapid action by state and civil actors. Articles by foreign correspondents who visited Bykivnia added to the pressure. On 5 December, half a century after the Great Terror, Criminal Case 50–0092 was opened to investigate the killings.55 A meeting by Memorial and other activists at the House of Cinema on 6 December demanded an end to the construction of a railway station; a truthful memorial; dismissal of Hladush from the government commission; and a board of advisors with people recommended by civil

in Human remains and identification
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The endless arrival
Paul Carter

memoir, experimental video-artist, Dirk de Bruyn, made a 20-minute film called Running . Returning to it half a lifetime later de Bruyn recognised it as ‘articulating the stateless mobility of the migrant in a gutted catatonic form’: subjected to a Zenonian reduction, the illusion of movement comes to a stop: ‘My interest in flicker and optical effects that I bring to this project are to do with their capacity to shock, erase and immobilise rather than merely as a pure and essentialist form of cinema.’  36 It is hard

in Translations, an autoethnography