Vision and visuality
Regimes of knowledge and appropriation of others in ethnographic museums and ethnographic film
Bibliographic Data
| ID | 14712898 |
|---|---|
| Authors | Milena Simić (0000-0001-8072-5578, corresponding author), Marina Simic |
| Year | 2010 |
| Volume | 58 |
| Issue | 1 |
| Pages | 85-99 |
| Publication date | 2010-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Glasnik Etnografskog instituta (JOURNAL) |
| Journal identifiers | ISSN: 0350-0861 • E-ISSN: 2334-8259 |
| Publisher | National Library of Serbia (PUBLISHER • RS) |
| DOI | 10.2298/gei1001085s |
| OpenAlex | W2056065548 |
| Language | EN |
| References cited | 1 |
This paper presents some similarities between epistemological paradigms in anthropological museum exhibitions and ethnographic films. Both the museum and ethnographic films are analysed as the models of representations based on the domination of vision as mode of knowledge through which curators and film makers produce subjects of their representations. Paradigmatic shifts in the 1980s with the critique of 'modern constitution' and domination of vision as a major 'sense of knowledge' in Western thought had great impact on museum curators and ethnographic film authors who in the last two decades tried to incorporate those changes in their practices. The paper presents some examples of film and ethnographic practices that followed those theoretical shifts and try to deconstruct their own representational practices and evaluate the results of those attempts
Aesthetics · Appropriation · Art · Epistemology · Ethnography · Exhibition · Sociology · Visual anthropology · Visual arts · Anthropology · Computer Science · Museums and Cultural Heritage · Philosophy · Photography and Visual Culture · Visual Culture and Art Theory
| Citation velocity | historical |
|---|---|
| Highly cited | No |