David Macdougall
Biographic Data
| ID | 89563 |
|---|---|
| NAME | David Macdougall |
| GIVEN NAMES | David |
| FAMILY NAME | Macdougall |
| SIGNATURE | MACDOUGALL D |
| AFFILIATIONS | Australian National University |
| VERIFIED | No |
| TOTAL WORKS | 44 |
| TOTAL CITATIONS | 245 |
| AUTHOR COUNT | 44 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1975 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 8 |
Seven types of collaboration
Although there exists a significant tradition of films made by one person, collaboration has long been a common practice in documentary film production, with new forms of co-creation emerging with the advent of digital media. This poses the problem of how we should interpret films that combine different skills and different creative visions. What is the place of authorship in such a work? Drawing on a range of examples, including some from the au…
Marc Piault — Un incident révélateur
Marc Piault avait un fort sens de l’éthique, qui lui était personnel plutôt que lié à un système moral particulier. J’ai fait partie avec lui de plusieurs comités de sélection pour des festivals de films ethnographiques, et il était souvent indigné par des films qui étaient sensationnalistes ou qui envahissaient inutilement la vie privée de leurs sujets. Lorsqu’il voyait ce genre de films, il disait : « Non, non, non, c’est trop ! Cela va trop lo…
Marc Piault — A revealing incident
Marc Piault had a strong ethical sense, which was personal rather than tied to any particular moral system. I served with him on several selection committees for ethnographic film festivals, and he was often outraged by films that were sensationalist or that needlessly invaded the privacy of their subjects. After viewing some film, he would say, “No, no, no, this is too much! This is going too far!” He also had an instinctive sense of fairness, w…
Cahier Photo
Marc-Henri Piault Virgilio Piras, Nuoro, juillet 2008 Marc-Henri Piault Virgilio Piras, Nuoro, juillet 2008 Marc-Henri Piault, série mouvements David MacDougall, Nuoro, 2010
Observational Filmmaking: A Unique Practice
Documentary and ethnographic filmmaking have spawned a wide range of practices, but until fairly recently most of them have relied on fictional techniques, with each scene being acted out for the camera. Observational filmmaking has diverged from this in its attempts to film spontaneous human behavior. Further, it emphasizes the role of the filmmaker as an observer, sharing this perspective with the audience. This short article discusses the qual…
Children through the Looking Glass
In recent decades social scientists have taken a renewed interest in Western conceptions of the child, revealing often contradictory notions of children as either lacking or capable, innocent or knowing, vulnerable or dangerous. The fine-art photograph offers visual anthropology a way to explore these contradictions and shifts in attitude. This essay addresses the question through the changing representations of children in 19th- and 20th-century…
How the Visual Makes Sense
In ethnographic films visual images, both singly and in combination, make sense in a variety of ways through their uses in description, analysis, interpretation and explanation. These uses rely on the filmmaker’s ability to guide the viewer’s understanding and the viewer’s ability to read a filmmaker’s intentions. This article was provoked by thinking about the ramifications of filming just one scene for an ethnographic film
Observational Cinema
Observational cinema is one of several closely related approaches to documentary filmmaking that emerged in the 1960s, encouraged by the introduction of new, lightweight cameras and sound recorders. Since then it has had a significant influence on ethnographic filmmaking and visual anthropology. While initially perceived by some critics as aspiring to detachment and scientific objectivity, it is now more often understood as a highly authored form…
Afterword
Where Is the Theory in Visual Anthropology
Is there a real theoretical underpinning for visual anthropology? Or are we just borrowing theoretical concepts, as needed, from other disciplines? Here eight visual anthropologists offer their thoughts on this fundamental question succinctly
Discussion between David MacDougall and Gary Kildea about Doon School Chronicles
G: Maybe you can talk a little bit about how you came to put Doon School Chronicles together like this D: The film changed quite radically during the process of making it, because initially I was attempting to look at the school as a kind of crossroads of people from different backgrounds. I had an idea of the school as a very heterogeneous place where there was a lot of mixing, and perhaps a lot of conflict. This was based on my preconceptions, …
Discussion between Gary Kildea and David MacDougall about Celso and Cora
This discussion is edited from a longer conversation . Asterisks indicate where
Anthropological Filmmaking: An Empirical Art
Cinema transcultural
En el Repositorio Institucional Séneca están depositados materiales en formato digital fruto de la producción científica o académica, de esta manera permite almacenar, difundir y preservar información de vital importancia
The Experience of Color
Color serves a variety of purposes in society from identifying groups to conveying symbolic meanings to providing aesthetic pleasure. More subtle effects of color can be found in the environments that human communities construct around themselves. At Doon School, an elite boys' boarding school in northern India, color is intimately associated with the students' activities, social relationships and sensory experiences. It defines their status and …
The Corporeal Image: Film, Ethnography, and the Senses
Illustrations ix Acknowledgments xiii INTRODUCTION: Meaning and Being 1 PART I: MATTER AND IMAGE 11 CHAPTER 1: The Body in Cinema 13 CHAPTER 2: Voice and Vision 32 PART II:IMAGES OF CHILDHOOD 65 CHAPTER 3: Films of Childhood 67 CHAPTER 4: Social Aesthetics and the Doon School 94 CHAPTER 5: Doon School Reconsidered 120 PART III:THE PHOTOGRAPHIC IMAGINATION 145 CHAPTER 6: Photo Hierarchicus: Signs and Mirrors in Indian Photography 147 CHAPTER 7: St…
Humanities Research Centre Documentary Film Festival/Film and Photography Conference
L'anthropologie visuelle et les chemins du savoir1
L'anthropologie visuelle et les chemins du savoir 1
Blind Ducks in Borneo
The appearance of Donald Duck and Mickey Mouse on hand-painted window blinds in East Kalimantan, Indonesia, presents an interesting convergence of globalization, local entrepreneurship, and artistic and cultural appropriation. In adopting these cartoon characters, the painter has created a livelihood for himself, but he has also identified with them in more personal ways and found in them an artistic focus. The result is not simply an instance of…
Exchange of Emails between David Macdougall & Anna Grimshaw
Colin Young, Ethnographic Film and the Film Culture of the 1960s
Gifts of Circumstance
Making Forest of Bliss: Intention, Circumstance ami Chance in Nonfiction Film. Conversation between Robert Gardner and Ákos Östör. Cambridge, Massachusetts and London: Harvard Film Archive, 2001
Renewing ethnographic film: Is digital video changing the genre
When Less Is Less: The Long Take in Documentary
The Subjective Voice in Ethnographic Film
The Corporeal Image: Film, Ethnography, and the Senses
Illustrations ix Acknowledgments xiii INTRODUCTION: Meaning and Being 1 PART I: MATTER AND IMAGE 11 CHAPTER 1: The Body in Cinema 13 CHAPTER 2: Voice and Vision 32 PART II:IMAGES OF CHILDHOOD 65 CHAPTER 3: Films of Childhood 67 CHAPTER 4: Social Aesthetics and the Doon School 94 CHAPTER 5: Doon School Reconsidered 120 PART III:THE PHOTOGRAPHIC IMAGINATION 145 CHAPTER 6: Photo Hierarchicus: Signs and Mirrors in Indian Photography 147 CHAPTER 7: St…
Ethnographic Film: Failure and Promise
Ethnographic films cannot be said to constitute a genre, nor is ethnographic film-making a discipline with unified origins and an established methodol ogy. Since the first conference on ethnographic film was held at the Musee de l'Homme 30 years ago, the term has served a largely emblematic func tion, giving a semblance of unity to extremely diverse efforts in the cinema and social sciences. A canon of ethnographic films has gradually emerged, an…
Where Is the Theory in Visual Anthropology
Is there a real theoretical underpinning for visual anthropology? Or are we just borrowing theoretical concepts, as needed, from other disciplines? Here eight visual anthropologists offer their thoughts on this fundamental question succinctly
Social Aesthetics and The Doon School
Principles of Visual Anthropology
This edition contains 27 articles, written by scholars and filmmakers who are generally acknowledged as the international authorities in the field, and a new preface by the editor. The book covers ethnographic filming and its relations to the cinema and television; applications of filming to anthropological research, the uses of still photography, archives, and videotape; subdisciplinary applications in ethnography, archeology, bio-anthropology, …
Media friend or media foe
Renewing ethnographic film: Is digital video changing the genre
Whose Story Is It
Photo hierarchicus: Signs and mirrors in indian photography
The Indian hill station of Mussoorie in northern Uttar Pradesh has an astonishing range of photographers and photographic practices. This diversity can be seen as a direct cultural manifestation of Mussoorie's class structure and history, including a recent upsurge of middle‐class Indian tourism. But it also reflects desires and contradictions in Indian attitudes towards photographic representation which have parallels in Indian art, religion and…
L'anthropologie visuelle et les chemins du savoir1
L'anthropologie visuelle et les chemins du savoir 1
Films of Memory
Transcultural Cinema
Cinema transcultural
En el Repositorio Institucional Séneca están depositados materiales en formato digital fruto de la producción científica o académica, de esta manera permite almacenar, difundir y preservar información de vital importancia
Colin Young, Ethnographic Film and the Film Culture of the 1960s
Observational Filmmaking: A Unique Practice
Documentary and ethnographic filmmaking have spawned a wide range of practices, but until fairly recently most of them have relied on fictional techniques, with each scene being acted out for the camera. Observational filmmaking has diverged from this in its attempts to film spontaneous human behavior. Further, it emphasizes the role of the filmmaker as an observer, sharing this perspective with the audience. This short article discusses the qual…
The Experience of Color
Color serves a variety of purposes in society from identifying groups to conveying symbolic meanings to providing aesthetic pleasure. More subtle effects of color can be found in the environments that human communities construct around themselves. At Doon School, an elite boys' boarding school in northern India, color is intimately associated with the students' activities, social relationships and sensory experiences. It defines their status and …
Blind Ducks in Borneo
The appearance of Donald Duck and Mickey Mouse on hand-painted window blinds in East Kalimantan, Indonesia, presents an interesting convergence of globalization, local entrepreneurship, and artistic and cultural appropriation. In adopting these cartoon characters, the painter has created a livelihood for himself, but he has also identified with them in more personal ways and found in them an artistic focus. The result is not simply an instance of…
Gifts of Circumstance
Making Forest of Bliss: Intention, Circumstance ami Chance in Nonfiction Film. Conversation between Robert Gardner and Ákos Östör. Cambridge, Massachusetts and London: Harvard Film Archive, 2001
Subtitling Ethnographic Films: Archetypes into Individualities
Photo wallahs: An Encounter with Photography
Folk Religion
Nawi
Unprivileged Camera Style
Principles of Visual Anthropology
This edition contains 27 articles, written by scholars and filmmakers who are generally acknowledged as the international authorities in the field, and a new preface by the editor. The book covers ethnographic filming and its relations to the cinema and television; applications of filming to anthropological research, the uses of still photography, archives, and videotape; subdisciplinary applications in ethnography, archeology, bio-anthropology, …
The Kenya Boran: Appraisals of a Documentary Film Series
Ethnographic Film: Failure and Promise
Ethnographic films cannot be said to constitute a genre, nor is ethnographic film-making a discipline with unified origins and an established methodol ogy. Since the first conference on ethnographic film was held at the Musee de l'Homme 30 years ago, the term has served a largely emblematic func tion, giving a semblance of unity to extremely diverse efforts in the cinema and social sciences. A canon of ethnographic films has gradually emerged, an…
Unprivileged Camera Style
Nawi
Lorang's Way
To Live with Herds
Grand classique etranger, le film donne la parole aux Jie, un groupe pastoral semi-nomade du nord-est de l'Ouganda. Les Jie luttent pour conserver leur mode de vie traditionnel en depit d'une politique gouvernementale adverse
The Wedding Camels
Folk Religion
Three Horsemen
Media friend or media foe
Whose Story Is It
Films de mémoire
Photo wallahs: An Encounter with Photography
Films of Memory
Photo hierarchicus: Signs and mirrors in indian photography
The Indian hill station of Mussoorie in northern Uttar Pradesh has an astonishing range of photographers and photographic practices. This diversity can be seen as a direct cultural manifestation of Mussoorie's class structure and history, including a recent upsurge of middle‐class Indian tourism. But it also reflects desires and contradictions in Indian attitudes towards photographic representation which have parallels in Indian art, religion and…
Subtitling Ethnographic Films: Archetypes into Individualities
When Less Is Less: The Long Take in Documentary
The Subjective Voice in Ethnographic Film
Social Aesthetics and The Doon School
Transcultural Cinema
Colin Young, Ethnographic Film and the Film Culture of the 1960s
Gifts of Circumstance
Making Forest of Bliss: Intention, Circumstance ami Chance in Nonfiction Film. Conversation between Robert Gardner and Ákos Östör. Cambridge, Massachusetts and London: Harvard Film Archive, 2001
Renewing ethnographic film: Is digital video changing the genre
Exchange of Emails between David Macdougall & Anna Grimshaw
Art (22 works) · Sociology (22 works) · History (19 works) · Computer Science (16 works) · Anthropology (15 works) · Visual arts (13 works) · Ethnography (12 works) · Art history (11 works) · History (10 works) · Citation (8 works)