By Scott MacDonald
American Ethnographic movie and private Documentary is a severe heritage of yank filmmakers the most important to the improvement of ethnographic movie and private documentary. The Boston and Cambridge zone is outstanding for nurturing those methods to documentary movie through associations reminiscent of the MIT movie part and the movie examine middle, the wood worker heart and the visible and Environmental experiences division at Harvard. Scott MacDonald makes use of pragmatism’s specialize in empirical event as a foundation for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. by means of exploring the cinematic, own, relationships among those comprehensive filmmakers, MacDonald exhibits how a pioneering, engaged, and uniquely cosmopolitan method of documentary built during the last part century.
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Extra info for American Ethnographic Film and Personal Documentary: The Cambridge Turn
Ai, who is still very beautiful, speaking to the camera, as a visual motif (her comments are presented in voiceover translation by Letta Mbulu). ai reviews Lorna and John Marshall 43 figure 4. Kung Woman (1980). Courtesy Documentary Educational Resources. the experiences that have brought her, and her neighbors, to their current situation. ai’s memories are interwoven with voice-overs by Marshall, and their dual commentary is illustrated with sequences from earlier Marshall films. ai as a young girl in The Hunters and helping to gather berries in First Film; and Marshall reviews the action in The Hunters as we see moments from that film.
Owa T’ama as part of symbolic game that women play, which can also cause a participant or an observer to enter trance. In both films women sing and clap, creating energy for the ceremonies. Kung Woman (and is referred to in A Joking Relationship). Kung Woman was finished. ai, who seems either bored or unhappy. ai is a recognizable figure, her facial expressions seem noteworthy, if obscure in this case. ai was frightened of /Gunda’s going into trance (“Your face looked so crazy,” she says to /Gunda, then to Marshall, “I was so scared of this man”).
Shot in a very functional manner— Laurence had told John, “Don’t try to be artistic. Just film what you see people 22 chapter 1 doing naturally. Kung life at Nyae Nyae. Kung arrive and set up their temporary village. ai, who would become a central character in John Marshall’s films about the Ju/’hoansi), boys setting snares for guinea fowl, men hunting for spring hare, the making of bows and poison arrows, men hunting gemsbok and wildebeest and the distribution of meat, eating and cooking, women making beads and a man playing music on his bow, boys playing, the group dancing and singing, a man falling into trance and coming out of it, children dancing, the group smoking, talking, and laughing; then, packing up and leaving to walk to the next temporary village.
American Ethnographic Film and Personal Documentary: The Cambridge Turn by Scott MacDonald