Visual Anthropology最新文献

{"title":"Pandemic Art: How the Virus Has Revolutionized Art Today","authors":"B. Justin","doi":"10.1080/08949468.2022.2063674","DOIUrl":"https://doi.org/10.1080/08949468.2022.2063674","url":null,"abstract":"“At times of great crisis, it is natural to look to the past for precedents,” the historian Tom Holland wrote in The Sunday Times at the start of the Covid 19 lockdowns in March 2020 (Cornwell 2020). The way artists from earlier centuries have portrayed epidemics and pandemics testifies to the anxieties raised during these events. If we look at their history we can find many real and symbolic methods used by which communities grappled with an invisible enemy. Many of the symbols used during those times still exist, and they give an insight into the ways in which artists perceived life-threatening instances, the horrors of disease and death, financial crises, the haunting despair that ensued, and what the human reactions to epidemics were. Looking into the past, at the way in which the plague was represented, we can understand how artists had come to adopt a religious framework to perceive and understand the onslaught of the epidemic. Many felt the affliction was divine retribution for communal sins.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"35 1","pages":"183 - 195"},"PeriodicalIF":0.2,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49619857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Objectification of Women in V. Shantaram’s Films","authors":"P. Jain, N. Bhasin","doi":"10.1080/08949468.2022.2063676","DOIUrl":"https://doi.org/10.1080/08949468.2022.2063676","url":null,"abstract":"This essay looks at Jhanak Jhanak Payal Baaje (1955; hereafter JJPB), and Geet Gaya Pattharon Ne (1964; hereafter GGPN), both made by the legendary Indian filmmaker, Rajaram Vankudre Shantaram (1901–90; generally known as V. Shantaram). These two commercial films are both based on the male protagonist’s artistic talents, supported by their female counterparts’ heroic sacrifices. We introduce and then analyze their plots, using Nussbaum’s concept of objectification—personal relationships involving a constant struggle over freedom as one either treats others as objects (so undermining their freedom) or allows them to be treated by others as an object (undermining their own freedom). Either way, someone’s freedom is compromised. The films demonstrate how the female protagonists are expected to sacrifice their careers and lives for their partners—a theme first broached with the role of Sīta in the R am ayana more than two millennia ago.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"35 1","pages":"201 - 206"},"PeriodicalIF":0.2,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43013155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Making of an Ethnographic Film of the Hopi Snake Dance in August 1898: A Reconstruction from the Photographic and Textual Record","authors":"P. Henley, Peter M. Whiteley","doi":"10.1080/08949468.2022.2017245","DOIUrl":"https://doi.org/10.1080/08949468.2022.2017245","url":null,"abstract":"This article was prompted by a plate published in the foundational text, Principles of Visual Anthropology, which purports to show a film being made by Thomas Edison of the Snake Dance as performed in the Hopi village of Orayvi, Arizona, in August 1898. This footage is now lost but could still have been one of the first ethnographic films ever made—depending on how one defines “ethnographic.” Here, contesting its attribution to Edison, we seek to reconstruct the content of this footage, drawing on the extensive photographic record made at the event, along with textual accounts by eyewitnesses and contemporary newspaper reports of subsequent screenings of the film material. We conclude by discussing the ethnographic status of the film footage, which also included sequences of a Navajo “tournament,” shot in the course of the filmmakers’ return journey, which foreshadows the tropes of the travelog and the Western movie. We hope that, if this material still exists, by correctly identifying the filmmakers and by describing the content of the footage, this article will help in locating it, particularly given the recent great improvements in the cataloging of and access to early film archives made possible by digital technology.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"35 1","pages":"37 - 79"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44975547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"How Does an Image Relate to What It Shows?—The Uses of Photography among the Badagas of South India","authors":"F. Heidemann","doi":"10.1080/08949468.2022.2017246","DOIUrl":"https://doi.org/10.1080/08949468.2022.2017246","url":null,"abstract":"“ How does a photograph relate to what it shows? ” This is a central conundrum of photography and is debated in academic journals as well as across the coffee-table. We find the two kinds of partial answer at the end-points of a long continuum. On the one side, the first approach, it is claimed that photography is like a fingerprint or a face mask, an unbiased copy of a (visual) impression, and what we see has actually happened. Thus two aircraft flew into the Twin Towers (in 2001), the cruiser Costa Concordia was shipwrecked (in 2012), and Donald Trump met Kim Jong Un (in 2018). On the other hand, a second approach rejects this view: photographs are not documents but commentaries; they do not reflect but construct the world, because they show just one moment and from one perspective; they can be modified in the post-production, and themselves become objects of subjective reading. Each view on this particular relationship of the picture and the depicted cannot ignore the other side. first counts. paradox dialectics is that eye","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"35 1","pages":"80 - 92"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47396184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Images of Syrian Refugees in Transit through Minefields in Turkey, 2011–2015","authors":"J. A. Roche Cárcel","doi":"10.1080/08949468.2022.2017244","DOIUrl":"https://doi.org/10.1080/08949468.2022.2017244","url":null,"abstract":"This article presents a qualitative analysis of photographs taken of Syrian refugees by the the Turkish photojournalist, Kemal Vural. There is an exceptional situation at the Turkish border. I will describe how these people cross the border, the dangers they face in walking through minefields, and the emotions that they experience then. The article concludes that refugees are portrayed as being displaced in transit through a flow that has not yet been defined. Finally, the analysis has been contextualized in the Syrian conflict and the problems this has entailed.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"35 1","pages":"5 - 36"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45168441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial","authors":"P. Hockings","doi":"10.1080/08949468.2022.2017243","DOIUrl":"https://doi.org/10.1080/08949468.2022.2017243","url":null,"abstract":"Visual Anthropology, as its name implies, is primarily an anthropology journal, although we do from time to time present articles in cinema studies or art history. So far as its anthropological content is concerned, we have seen a sea change of sorts, as articles on “the primitive”—which for so long was our bread-and-butter—are perhaps no longer so numerous as articles based on fieldwork in modern Western societies, lands such as Israel, Argentina, Canada, and all parts of Europe; or else in rapidly modernizing nations such as Egypt, India or Vietnam. Recent issues of our journal have included several articles on refugees and other migrants (including one in this issue), alongside articles on imprisoned mothers, colonial policing, health in indigenous communities, political prisoners in a totalitarian state, and fraught issues that surround the development of what were at least notionally indigenous lands and traditional cultures. There is no point in labeling such studies applied visual anthropology: they are straightforwardly approaching biting issues of our own times. And to the extent that they often concern people who have no effective political representation in their own or else their host countries, we anthropologists can at least pinpoint socio-economic issues faced by those people that otherwise tend to go unacknowledged in London, Washington, Brussels or Beijing. No matter what news media we consult, we learn of daily events arising from a panoply of global problems that are forming the constant background to life in the early 21st century. These issues are parsed in a variety of ways depending on political convictions, and all too many aspects are conveniently glossed over or ignored completely by so-called “leaders”: witness the utter silence about climate change and expanding desertification, with the consequent depopulation, in the lead-up to most recent presidential elections. But what is going to happen when northern Africa has to empty much of its populace into Europe or elsewhere? Do Muslim-dominant countries adequately aid their benighted co-religionists? Are United Nations agencies still relevant? At the present moment the outstanding global concern is with overcoming the COVID-19 pandemic, which has rightly been compared to the equally destructive Spanish flu epidemic of a century ago—which, by the way, was only “Spanish” in the rhetoric of a U.S. president who was at pains to “pin the blame” for it overseas (and so took his cue from a baseless French accusation), exactly as ex-President Trump did for what he called the “China virus.” In our own time in a host of “advanced” countries that included Britain, France, Germany, Australia and the United States we have seen large public demonstrations of opposition to the reasonable public health strategies of mask-wearing and vaccinating against COVID-19. It is extraordinary to find that nearly half of all Americans claim a “right” not to wear face masks.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"35 1","pages":"1 - 4"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45706508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Volume 34—Author Index","authors":"","doi":"10.1080/08949468.2021.1984811","DOIUrl":"https://doi.org/10.1080/08949468.2021.1984811","url":null,"abstract":"(2021). Volume 34—Author Index. Visual Anthropology: Vol. 34, No. 5, pp. 465-466.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"68 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Comedy and Other Hollywood Tropes of American Social Stratification (1990–2011)","authors":"D. Lipset","doi":"10.1080/08949468.2021.1984806","DOIUrl":"https://doi.org/10.1080/08949468.2021.1984806","url":null,"abstract":"In modern social theory, mass media have been seen as providing ideological support for the reproduction of class inequalities, and structures of exploitation and domination, in industrialized economies. Similarly, cultural anthropologists saw American stratification as contributing no less direct support of the status quo. However, selected Hollywood movies depict an actor-based and inclusive vision of American stratification. In close viewings of Pretty Woman (1990), Good Will Hunting (1997) and The Descendants (2011), I adapt Northrop Frye’s “modes of fiction” framework (1957), which I couple with modern mass media theory and trace back to American exceptionalism, to argue that this vision promotes a comic vindication of class inequality in American society.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"34 1","pages":"405 - 422"},"PeriodicalIF":0.2,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45333106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Volume 34—Title Index","authors":"","doi":"10.1080/08949468.2021.1984812","DOIUrl":"https://doi.org/10.1080/08949468.2021.1984812","url":null,"abstract":"","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"34 1","pages":"467 - 468"},"PeriodicalIF":0.2,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43830452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Looking Machine","authors":"Lorraine. Mortimer","doi":"10.1080/08949468.2021.1984810","DOIUrl":"https://doi.org/10.1080/08949468.2021.1984810","url":null,"abstract":"When an early Lumi ere Company film set in French Indochina shows two white European women in the elaborate dress of the Edwardian period throwing coins to local children who busily pick them up, it’s common today to hear that what we are really seeing there is “colonialism at work.” As it stands, that utterance isn’t wrong. The sins of colonialism were and are real. The mistake however is to conclude that this is all that we’re seeing. For if this was indeed a “typical colonial film” those were also two particular women captured in a particular place at a particular time, and real children grabbing at the coins. Many of the Lumi ere films, as David MacDougall says, “are now profoundly moving glimpses of the past, as well as being important historical records” (158 and Fig. 12.1). Part of the attraction of early documentary was watching things that happened in the past as if they were happening in the present. MacDougall notes that an early genre of still photography was a cataloging of petits m etiers—and this attraction in photography with craftspeople, artists and other workers (later including industrial ones), along with people at play, has waxed and waned in different forms right down to the present. Film added a new dimension to such images: “the uncanny emanation of life being lived... the sensation that, like oneself, people elsewhere were experiencing their own lives” (160). Paradoxically, by use of mechanical means, film enabled the possibility of a strange but poignant kinship with others, with other vulnerable and ephemeral human beings and the settings they lived in—scenes that have long since passed. We might wonder about the individual fates of those children in Indochina, but we do know that they are dead. A kind of “spiritual wound” could be opened by film, a “new intimacy” that was both “painful and fascinating.” This existential/magical dimension of film and our experience of it was something written about by diverse poets, novelists and other artists, and is still alive today in the best of writing on film. But in documentary it would soon be “softened and contained, by a system of quotation,” MacDougall observes. Documentary films would begin to treat images “not as scenes of actual events but as cinematic illustrations of them.” They would retreat from the present moment and begin approaching their subjects in “increasingly","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"34 1","pages":"454 - 464"},"PeriodicalIF":0.2,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42584502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}