Out of words
The æsthesodic cine-eye of Robert Gardner:An Exegesis and Interview
Bibliographic Data
| ID | 2163169 |
|---|---|
| Authors | Ilisa Barbash (University of Colorado Boulder, corresponding author) |
| Year | 2001 |
| Volume | 14 |
| Issue | 4 |
| Pages | 369-413 |
| Publication date | 2001-11-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Visual Anthropology (JOURNAL) |
| Journal identifiers | ISSN: 0894-9468 • E-ISSN: 1545-5920 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/08949468.2001.9966841 |
| OpenAlex | W2002533548 |
| Language | EN |
| Citations received | 2 |
Anthropological evaluations of the film work of Robert Gardner have been compromised by their reluctance to engage with it as art, and more broadly, to celebrate rather than vilify the aesthetic possibilities of the genre of ethnographic film. Even recent experiments with reflexivity have done little to challenge the realism that undergirds anthropological reception of non‐fiction film. By contrast, this article and interview considers Gardner's work as both anthropology and art. In particular, it addresses the evolving dialectic of the verbal and the visual in his films, from Bhinden Harbour (1951) to Passenger (1998). It also argues that recent efforts by anthropologists to rethink the concept of culture from a post‐semiotic perspective, foregrounding corporeal embodiment in the constitution of culture as much as the self, expand the theoretical boundaries of visual anthropology. In turn, it suggests that this reorientation towards sensation and perception should allow for a more approbatory understanding of Gardner's films
Art · Exegesis · Literature · Visual arts · Photography and Visual Culture · Psychology · Visual Culture and Art Theory
| Citations per year | 0.25 |
|---|---|
| Citation span | 2018 - 2022 (5) |
| Highly cited | No |