Cine-Ethnography (Visible Evidence) [Jean Rouch, Steven Feld] on . *FREE* shipping on qualifying offers. One of the most influential figures in. Cine-Ethnography is a long-overdue English-language resource that collects Rouch’s key writings, interviews, and other materials that distill his thinking on. Ciné-Ethnography: Jean Rouch. Edited and translated by Steven Feld. Minneapolis, MN: University of Minnesota Press, $ cloth; $ paper.
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After Morin cine-ethnofraphy the conversation back to the Congo, Landry and Raymond speaking of their solidarity with all colonised Africans, Rouch returns to Marceline, and the number on her arm. Jacques Gabillon, who appears in the film with his wife, Simone, was, like Marceline, a concentration camp survivor, known to Morin through the Federation of Resistant and Patriotic Deportees and Internees.
Throughout his career, he used his camera to report on life in Africa. While he might be able to justify his filming scientifically for archivespolitically “sharing in the revolt against an intolerable situation”or aesthetically jeam capture the fragility of beauty or movementRouch speaks of his own necessity to film There are no discussion topics on this book yet.
Related Publications Art and the End of Apartheid The first book to fully explore cosmopolitan modern art by black South Africans under apartheid. No beating around the bush here. Among those met in Paris who will return with the pair to Ayorou, is Safi Faye, who after this collective improvisation, will herself go on to become a major African filmmaker. Certainly the formative joking relationship shared with his African friends is a desired model of relating.
One showing, I remember the unexpected happened after class. They talk about their own lives. Social and cultural anthropology.
Cne-ethnography and Conversations with Jean Rouch pp. The French administration, fearing the revival of “strong animistic faiths that might turn political” did likewise. Only in the 70s and 80s did some of his writings and interviews appear in English.
Jean Rouch has made more than one hundred documentary films in West Africa and France, pioneered numerous film techniques and technologies, and in the process inspired generations of filmmakers. Rouch’s “Life on the edge of film and anthropology” started auspiciously, his Catalan scientist father, a naval officer on Dr Charcot’s expedition to the Antarctic on the Pourquoi Pas?
While Cineaste want some clear directions in regard to politics, aesthetics and praxis, what comes through the essays and interviews as well as the films themselvesis an argument for a non-alienated politics: But what he does feel sure of is that the “only way to go on is to recognize that the world is at the same time cruel and tender” List of important publications in anthropology.
The Sigui ceremonies posed questions, not answers, to initiates, and this, he thinks, is what he has tried to do in films, “to pose riddles, to circulate disquieting objects” And in four interviews, Rouch thoughtfully reflects on each of his films, as well as his artistic, intellectual, and political concerns.
This film, made at the request of participants of the Hauka possession cult, cannot be said to be guilty of the “flight from truth’s terror” which Nietzsche evoked, or the “need to create textual order out of experiential chaos”, which has such a long history in the Western philosophical tradition. And in four interviews, Rouch thoughtfully reflects on each of his films, as well as his artistic, intellectual, and political concerns. There is no shortage of discomfort for Chronicle’s audience.
Ably introduced and translated by Steven Feld, this book, which will be an indispensable resource for any person interested in visual studies, introduces readers to the provocatively challenging visual world ruch Jean Rouch—in his own words.
Ciné-Ethnography — University of Minnesota Press
He is wary of politics that betray actual experience. Could its neglect have anything to do with the fact that this pioneering New Wave film had a black protagonist hero who told his own story, directly to the audience?
Click here to sign up. As Rouch put it to Enrico Fulchignoni in Retrieved from ” https: In Chronicle at one stage, twenty-year old Jean-Pierre speaks of his political impotence, of having seen the way Morin’s generation has been scarred by political involvement, their “powerlessness in the face of barriers But the American distributor cut out these segments of the film, and the narration also let it down.
The Ethnography of Jean Rouch. The director made great films, his comedies were much loved back in Africa. I know there are places in the world where I walk around and I suddenly come upon this peculiar perspective: School of American Research Press, Yet if Rouch’s and Morin’s spirit, their approach to politics, poetry and research are really followed through, this “woman problem” or rather, “man problem” can surely be more effectively negotiated.
Having no idea, the Africans and the others playfully try out ideas — then Marceline, with grace, explains, and the camera pans to a close-up of Landry, lowering his eyes.
The film is full of strange encounters, surrealist touches, music, movement and humour.