A Grimshaw
Dados Biográficos
| ID | 21706 |
|---|---|
| NOME | A Grimshaw |
| PRENOMES | A |
| SOBRENOME | Grimshaw |
| ASSINATURA | GRIMSHAW A |
| AFILIAÇÕES | Emory University |
| ORCID | 0000-0002-1802-7661 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 37 |
| TOTAL DE CITAÇÕES | 211 |
| TOTAL COMO AUTOR | 37 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1986 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2022 |
| ÍNDICE H | 8 |
Extending the Frame
For a century or more, ethnographic filmmakers have been expected to produce discrete, bounded films of a length that conforms to established conventions. But over the last decade, changes in viewing patterns and the proliferation of web‐based screening sites have brought new possibilities into view. This essay explores what these changes might mean in terms of moving beyond the limitations of the self‐standing film. How might a multipart approac…
Does Ethnographic Film (Still) Matter? Reflections on the Genre in a World of Multimodality
For almost a century ethnographic filmmakers liked to think of their work as the radical alternative to a hidebound textual anthropology. Such claims are now increasingly challenged. On the one hand, the rise of “experimental’ or “multimodal” scholarship has changed the existing terms of debate about alternative modes of anthropological practice. On the other hand, debates about the decolonization (or decanonization) of the discipline have served…
Making Do
This chapter is a report from the field. It addresses what Schneider and Wright have called ‘the challenge of practice’ through an exploration of initiatives pursued in the space between art and anthropology. If visual anthropology has been associated with a simple-minded scientism, it has also been condemned for its artfulness. For, contrary to its perception as one of the most formally and conceptually backward areas of visual anthropology, Gri…
Desenhar com uma câmera? Filme etnográfico e antropologia transformadora
O desenho tem emergido como um foco recente de atenção antropológica. Escritores como Ingold e Taussig defenderam sua importância como um tipo especial de prática de conhecimento, ligando-o a uma reimaginação mais ampla do próprio projeto antropológico. Em respaldo a sua abordagem, está uma oposição entre o lápis e a câmera, entre "fazer" e "tirar", entre modos de inquirição restritiva e produtiva. Este artigo desafia tal suposição, argumentando …
The multipart film
Ethnographic filmmakers have long struggled to make a case for the intellectual seriousness of their work. Although this is changing, especially in certain areas of the discipline (sensory ethnography, collaborative research, for example), the kinds of inquiry the medium of film facilitates is often not clear to those whose familiarity lies exclusively with written argument-based forms. Another problem for the ethnographic filmmaker, hitherto una…
Telling stories, screening lives
Anthropological work that focuses on individual lives, what Zeitlyn calls a ‘sample of one’ (Zeitlyn, 2008, , 16, 154), has long hovered on the edge of disciplinary respectability. At best it is viewed as a fieldwork methodology, a way of collecting data; at worst, a kind of popularisation. This essay is a response to an emerging interest in anthropological biography. Drawing on the rich history of innovative work with individuals, it presents an…
The Ax Fight
Although The Ax Fight is one of the most discussed films in the history of ethnographic cinema, we argue that commentators have overlooked certain key aspects of the film. Critical engagement with Asch's techniques and how they work to shape a particular interpretation of the Yanomamo is crucial to understanding the kind of anthropological work that ethnographic film does and can do. Offered as an exercise in close reading, this essay is intended…
We'd like to agree
The ethnographic turn - and after
The ethnographic turn has been the focus of recent debate between artists and anthropologists. Crucial to it has been an expansive notion of the ethnographic. No longer considered a specialised technique, the essays of Clifford and others have proposed a broader and more eclectic interpretation of ethnography – an approach long considered to be the exclusive preserve of academic anthropology. In this essay, we look more critically at what the eth…
Drawing with a camera? Ethnographic film and transformative anthropology
Drawing has emerged as a recent focus of anthropological attention. Writers such as Ingold and Taussig have argued for its significance as a special kind of knowledge practice, linking it to a broader re-imagining of the anthropological project itself. Underpinning their approach is an opposition between the pencil and the camera, between 'making' and 'taking', between restrictive and generative modes of inquiry. This essay challenges this assump…
Delhi At Eleven
Why are children and young people so often overlooked as filmmakers? I pondered this question while watching Delhi At Eleven, since I realised how unusual it was to have a glimpse of the world as e...
Who Has the Last Laugh?Nanook of the Northand Some New Thoughts on an Old Classic
Since its release in 1922 Nanook of the North has remained at the heart of debates in documentary and ethnographic cinema. Long considered a foundational work, Flaherty's film has been hailed and disparaged in equal measure. After an absence of several years, I returned to a viewing of Nanook and found myself surprised by what I saw. Drawing on the work of early cinema historians, I seek here to challenge contemporary critiques and articulate a c…
The Bellwether Ewe
This article explores what might be called the "aesthetic" turn in ethnographic filmmaking. It seeks to move beyond the old debates about the legitimacy of nonliterary forms to offer a detailed examination of how selected camera, sound, and editing techniques are used to constitute a distinctive kind of anthropological inquiry. No longer approached as illustrative or preliminary to anthropology proper, recent trends in ethnographic filmmaking are…
Two Recent Films from David MacDougall
Rethinking observational cinema
Observational cinema' has long been central to debates in visual anthropology. Although initially hailed as a radical breakthrough in ethnographic filmmaking, the genre was subsequently criticized as naïvely empiricist and lacking in reflexive sophistication. In this article, we make a new case for observational cinema. It grows out of a renewed attention to practice. We argue that observational work be understood not as preliminary to anthropolo…
Cultures in Webs
Herb Di Gioia
Herb Di Gioia is a key figure in the tradition of observational cinema. The films that he made with David Hancock in the early 1970s laid the foundations for a different kind of observational documentary than one identified with the more well-known work of David and Judith MacDougall. Following Hancock’s untimely death, Di Gioia channeled most of his energies into teaching. He was a central figure in Britain’s National Film and Television School,…
Herb Di Gioia and David Hancock
Herb Di Gioia and David Hancock are key figures in the tradition of observational cinema. Their work, however, is barely known. Between 1971 and 1975 they completed a series of film that charts an observational cinema in the making. This essay is concerned to trace the process by which Di Gioia and Hancock forged a distinctive documentary path that differs in significant ways from the more established model identified with David and Judith MacDou…
The Ethnographer's Eye
Anna Grimshaw, Cambridge: Cambridge University Press, 2001, xiii + 222 pages (paper).Reviewer: William RodmanMcMaster UniversityThis is a book as much about ways of knowing as ways of seeing. It is a volume appropriate to the first years of the new millennium, because it carries forward in innovative new directions some of the themes and theoretical advances that emerged during the crisis in representation in the late 1980s and 1990s. In the long…
Exchange of Emails between David Macdougall & Anna Grimshaw
Eyeing the Field
As a member of staff at the Granada Centre for Visual Anthropology, I have seen it emerge over the last decade as a critical site for anthropological film-making. The primary focus of the Centre's operations is its Masters course that offers training in documentary film-making techniques to anthropology graduates. There is, however, considerable confusion among both anthropologists and film-makers about the status of anthropological documentary. …
From Observational Cinema to Participatory Cinema - and back again? David Macdougall and the doon school project
The Ethnographer's Eye
The Ethnographer's Eye
Grimshaw's exploration of the role of vision within modern anthropology engages with current debates about ocularcentism, investigating the relationship between vision and knowledge in ethnographic enquiry. Using John Berger's notion of 'ways of seeing', the author argues that vision operates differently as a technique and theory of knowledge within the discipline. In the first part of the book she examines contrasting visions at work in the so-c…
Women Living Zen
Women Living Zen: Japanese Soto Buddhist Nuns. Paula Kane Robinson Arai. Oxford: Oxford University Press, 1999. ix. 233 pp., photographs, tables, appendixes, bibliography, endnotes, index
The Ethnographer's Eye
Anthropology and the Crisis of the Intellectuals
Histoire de l'anthropologie de l'Ecole Britannique et de sa crise, et analyse de la naissance de nouveaux mouvements en fonction du contexte politique et social : Rivers et Malinowski, l'anthropologie et le colonialisme pour la periode 1890-1945, la crise contemporaine de l'anthropologie et la mort lente de l'ethnographie scientifique (Goody, Leach), les anthropologues en tant qu'intellectuels modernes (Said, James) pour la periode allant de 1945…
The Bellwether Ewe
This article explores what might be called the "aesthetic" turn in ethnographic filmmaking. It seeks to move beyond the old debates about the legitimacy of nonliterary forms to offer a detailed examination of how selected camera, sound, and editing techniques are used to constitute a distinctive kind of anthropological inquiry. No longer approached as illustrative or preliminary to anthropology proper, recent trends in ethnographic filmmaking are…
Innovation in Ethnographic Film
Drawing with a camera? Ethnographic film and transformative anthropology
Drawing has emerged as a recent focus of anthropological attention. Writers such as Ingold and Taussig have argued for its significance as a special kind of knowledge practice, linking it to a broader re-imagining of the anthropological project itself. Underpinning their approach is an opposition between the pencil and the camera, between 'making' and 'taking', between restrictive and generative modes of inquiry. This essay challenges this assump…
Rethinking observational cinema
Observational cinema' has long been central to debates in visual anthropology. Although initially hailed as a radical breakthrough in ethnographic filmmaking, the genre was subsequently criticized as naïvely empiricist and lacking in reflexive sophistication. In this article, we make a new case for observational cinema. It grows out of a renewed attention to practice. We argue that observational work be understood not as preliminary to anthropolo…
Principles of Visual Anthropology
Fields of Vision
Filmed images dominate our time, from the movies and TV that entertain us to the news and documentary that inform us and shape our cultural vocabulary. Crossing disciplinary boundaries, Fields of Vision is a path-breaking collection that inquires into the power (and limits) of film and photography to make sense of ourselves and others. As critics, social scientists, filmmakers, and literary scholars, the contributors converge on the issues of rep…
The Ethnographer's Eye
Anna Grimshaw, Cambridge: Cambridge University Press, 2001, xiii + 222 pages (paper).Reviewer: William RodmanMcMaster UniversityThis is a book as much about ways of knowing as ways of seeing. It is a volume appropriate to the first years of the new millennium, because it carries forward in innovative new directions some of the themes and theoretical advances that emerged during the crisis in representation in the late 1980s and 1990s. In the long…
Servants of the Buddha
From Observational Cinema to Participatory Cinema - and back again? David Macdougall and the doon school project
Special Delivery
The beginning of a journey (1939-40) a symbol of American civilization (1943-44) uncertainty and attachment (1945-46) separation and limbo (1947-48)
Who Has the Last Laugh?Nanook of the Northand Some New Thoughts on an Old Classic
Since its release in 1922 Nanook of the North has remained at the heart of debates in documentary and ethnographic cinema. Long considered a foundational work, Flaherty's film has been hailed and disparaged in equal measure. After an absence of several years, I returned to a viewing of Nanook and found myself surprised by what I saw. Drawing on the work of early cinema historians, I seek here to challenge contemporary critiques and articulate a c…
Eyeing the Field
As a member of staff at the Granada Centre for Visual Anthropology, I have seen it emerge over the last decade as a critical site for anthropological film-making. The primary focus of the Centre's operations is its Masters course that offers training in documentary film-making techniques to anthropology graduates. There is, however, considerable confusion among both anthropologists and film-makers about the status of anthropological documentary. …
Teaching Visual Anthropology. Notes from the Field
When I joined the Granada Centre in 1991 I was concerned to explore the field of visual anthropology by means of an intellectually coherent approach that encompassed research, teaching and filmmaking practices. At the centre of this approach was an interest in the relationship between vision and knowledge in ethnographic enquiry. My recent book, 'The Ethnographer's Eye', was an attempt to establish a broader intellectual context for the examinati…
Does Ethnographic Film (Still) Matter? Reflections on the Genre in a World of Multimodality
For almost a century ethnographic filmmakers liked to think of their work as the radical alternative to a hidebound textual anthropology. Such claims are now increasingly challenged. On the one hand, the rise of “experimental’ or “multimodal” scholarship has changed the existing terms of debate about alternative modes of anthropological practice. On the other hand, debates about the decolonization (or decanonization) of the discipline have served…
Desenhar com uma câmera? Filme etnográfico e antropologia transformadora
O desenho tem emergido como um foco recente de atenção antropológica. Escritores como Ingold e Taussig defenderam sua importância como um tipo especial de prática de conhecimento, ligando-o a uma reimaginação mais ampla do próprio projeto antropológico. Em respaldo a sua abordagem, está uma oposição entre o lápis e a câmera, entre "fazer" e "tirar", entre modos de inquirição restritiva e produtiva. Este artigo desafia tal suposição, argumentando …
Popular democracy and the creative imagination
(1990). Popular democracy and the creative imagination. Third Text: Vol. 4, No. 10, pp. 11-24
The Ax Fight
Although The Ax Fight is one of the most discussed films in the history of ethnographic cinema, we argue that commentators have overlooked certain key aspects of the film. Critical engagement with Asch's techniques and how they work to shape a particular interpretation of the Yanomamo is crucial to understanding the kind of anthropological work that ethnographic film does and can do. Offered as an exercise in close reading, this essay is intended…
We'd like to agree
Cultures in Webs
Books
British thinking about race before and after 1945 Paul B. Rich, Race and Empire in British Politics, Cambridge University Press, 1986,272 pp., £25. Reassessing the ‘black presence’ in English literature David Dabydeen (ed.), The Black Presence in English Literature, Manchester University Press, 1985, 214 pp.. £5.95 pb. 1 The Colonial Encounter: A Reading of Six Novels (Rex Collings, 1977). 2 The Study of Literature in an African University was pu…
Books
London Against Racism in Housing, Anti‐Racism for the Private Rented Sector, London: London Against Racism in Housing, 1988, 122 pp., n.p. Marc Reuver, Christians as Peacemakers, Geneva: World Council of Churches, 1988, 84 pp., £3.75 p.b. Robin Boyd, Ireland: Christianity Discredited or Pilgrim's Progress, Geneva: WWC Publications, 1988, 127 pp., £4.75 p.b. Máirtin Mac an Ghaill, Young, Gifted and Black: Student‐Teacher Relations in the Schooling…
Popular democracy and the creative imagination
(1990). Popular democracy and the creative imagination. Third Text: Vol. 4, No. 10, pp. 11-24
C.L.R. James and 'The Struggle for Happiness'
C. L. R. James, decede en 1989, d'obedience marxiste et adaptant les idees de Marx et d'Hegel a son temps, considerait que l'homme devait tout faire pour parvenir a la joie (son livre « The struggle of life » le montre) comme il devait obtenir la liberte et l'egalite selon ses « maitres »
Servants of the Buddha
In the Company of C. L. R. James
Innovation in Ethnographic Film
Anthropology and the Crisis of the Intellectuals
Histoire de l'anthropologie de l'Ecole Britannique et de sa crise, et analyse de la naissance de nouveaux mouvements en fonction du contexte politique et social : Rivers et Malinowski, l'anthropologie et le colonialisme pour la periode 1890-1945, la crise contemporaine de l'anthropologie et la mort lente de l'ethnographie scientifique (Goody, Leach), les anthropologues en tant qu'intellectuels modernes (Said, James) pour la periode allant de 1945…
Fields of Vision
Filmed images dominate our time, from the movies and TV that entertain us to the news and documentary that inform us and shape our cultural vocabulary. Crossing disciplinary boundaries, Fields of Vision is a path-breaking collection that inquires into the power (and limits) of film and photography to make sense of ourselves and others. As critics, social scientists, filmmakers, and literary scholars, the contributors converge on the issues of rep…
Special Delivery
The beginning of a journey (1939-40) a symbol of American civilization (1943-44) uncertainty and attachment (1945-46) separation and limbo (1947-48)
Principles of Visual Anthropology
The Ethnographer's Eye
Grimshaw's exploration of the role of vision within modern anthropology engages with current debates about ocularcentism, investigating the relationship between vision and knowledge in ethnographic enquiry. Using John Berger's notion of 'ways of seeing', the author argues that vision operates differently as a technique and theory of knowledge within the discipline. In the first part of the book she examines contrasting visions at work in the so-c…
Women Living Zen
Women Living Zen: Japanese Soto Buddhist Nuns. Paula Kane Robinson Arai. Oxford: Oxford University Press, 1999. ix. 233 pp., photographs, tables, appendixes, bibliography, endnotes, index
Teaching Visual Anthropology. Notes from the Field
When I joined the Granada Centre in 1991 I was concerned to explore the field of visual anthropology by means of an intellectually coherent approach that encompassed research, teaching and filmmaking practices. At the centre of this approach was an interest in the relationship between vision and knowledge in ethnographic enquiry. My recent book, 'The Ethnographer's Eye', was an attempt to establish a broader intellectual context for the examinati…
Exchange of Emails between David Macdougall & Anna Grimshaw
Eyeing the Field
As a member of staff at the Granada Centre for Visual Anthropology, I have seen it emerge over the last decade as a critical site for anthropological film-making. The primary focus of the Centre's operations is its Masters course that offers training in documentary film-making techniques to anthropology graduates. There is, however, considerable confusion among both anthropologists and film-makers about the status of anthropological documentary. …
From Observational Cinema to Participatory Cinema - and back again? David Macdougall and the doon school project
The Ethnographer's Eye
The Ethnographer's Eye
Anna Grimshaw, Cambridge: Cambridge University Press, 2001, xiii + 222 pages (paper).Reviewer: William RodmanMcMaster UniversityThis is a book as much about ways of knowing as ways of seeing. It is a volume appropriate to the first years of the new millennium, because it carries forward in innovative new directions some of the themes and theoretical advances that emerged during the crisis in representation in the late 1980s and 1990s. In the long…
Herb Di Gioia
Herb Di Gioia is a key figure in the tradition of observational cinema. The films that he made with David Hancock in the early 1970s laid the foundations for a different kind of observational documentary than one identified with the more well-known work of David and Judith MacDougall. Following Hancock’s untimely death, Di Gioia channeled most of his energies into teaching. He was a central figure in Britain’s National Film and Television School,…
Herb Di Gioia and David Hancock
Herb Di Gioia and David Hancock are key figures in the tradition of observational cinema. Their work, however, is barely known. Between 1971 and 1975 they completed a series of film that charts an observational cinema in the making. This essay is concerned to trace the process by which Di Gioia and Hancock forged a distinctive documentary path that differs in significant ways from the more established model identified with David and Judith MacDou…
Cultures in Webs
Rethinking observational cinema
Observational cinema' has long been central to debates in visual anthropology. Although initially hailed as a radical breakthrough in ethnographic filmmaking, the genre was subsequently criticized as naïvely empiricist and lacking in reflexive sophistication. In this article, we make a new case for observational cinema. It grows out of a renewed attention to practice. We argue that observational work be understood not as preliminary to anthropolo…
The Bellwether Ewe
This article explores what might be called the "aesthetic" turn in ethnographic filmmaking. It seeks to move beyond the old debates about the legitimacy of nonliterary forms to offer a detailed examination of how selected camera, sound, and editing techniques are used to constitute a distinctive kind of anthropological inquiry. No longer approached as illustrative or preliminary to anthropology proper, recent trends in ethnographic filmmaking are…
Two Recent Films from David MacDougall
Sociology (27 obras) · Art (25 obras) · Ethnography (21 obras) · Anthropology (20 obras) · History (18 obras) · Philosophy (17 obras) · Visual arts (14 obras) · Art history (13 obras) · History (13 obras) · Aesthetics (12 obras)