By Scott MacDonald
American Ethnographic movie and private Documentary is a severe background of yank filmmakers the most important to the advance of ethnographic movie and private documentary. The Boston and Cambridge sector is impressive for nurturing those techniques to documentary movie through associations reminiscent of the MIT movie part and the movie learn middle, the wood worker middle and the visible and Environmental reviews 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 entire filmmakers, MacDonald indicates how a pioneering, engaged, and uniquely cosmopolitan method of documentary constructed during the last part century.
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Additional info for American Ethnographic Film and Personal Documentary: The Cambridge Turn
In some senses, of course, The Hunters has much in common with Nanook and Moana, and over the years, it has been critiqued in much the same way. While all three films communicate a level of reality that Flaherty and Marshall understood as basic to the Inuit , the Samoans, and the Ju/’hoansi at the time when they shot these films, the Flaherty films and The Hunters are not simply candid records of events as they unfolded. As most everyone who is introduced to these films now knows, the events we see were constructed in the editing—even though the editing in all three films allows many viewers to believe they are seeing events unfold precisely as they unfolded in reality at the time of the shooting.
20 Our ability to hear the voices of the women, who talk very quietly, Lorna and John Marshall 29 figure 2. From John Marshall’s A Group of Women (1961). Courtesy Documentary Educational Resources. adds an audio component to the intimacy established by the in-close cinematography, and our reading the subtitles—while it does interrupt our view on the women—engages us within this quiet moment in a way that Marshall’s voice-over in The Hunters does not. Marshall’s films have nearly always been subsumed within the category of ethnographic film, the assumption being that their primary, if not only, function is to provide a useful adjunct to anthropological investigations of an indigenous group, and particularly, an indigenous group whose way of life is under threat from modernity—as represented, of course, by the camera itself.
Marshall’s films have nearly always been subsumed within the category of ethnographic film, the assumption being that their primary, if not only, function is to provide a useful adjunct to anthropological investigations of an indigenous group, and particularly, an indigenous group whose way of life is under threat from modernity—as represented, of course, by the camera itself. But A Group of Women only seems an ethnographic film if one thinks of it within the metasequence of Marshall’s Ju/’hoansi project.