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New worlds from fragments : film, ethnography, and the representation of Northwest Coast cultures

Author: Rosalind C Morris
Publisher: Boulder : Westview Press, 1994.
Series: Studies in the ethnographic imagination.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Bringing together the insights of literary criticism, film theory, history, and anthropology, this book explores the tradition of ethnographic film on the Northwest Coast and its relationship to the ethnography of the area. Rosalind Morris takes account of these films, organizing her discussions around a series of detailed readings and viewings that treat questions of form and content in broadly historical terms.  Read more...
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Genre/Form: Pictorial works
Additional Physical Format: Online version:
Morris, Rosalind C.
New worlds from fragments.
Boulder : Westview Press, 1994
(OCoLC)607844771
Online version:
Morris, Rosalind C.
New worlds from fragments.
Boulder : Westview Press, 1994
(OCoLC)609240966
Document Type: Book
All Authors / Contributors: Rosalind C Morris
ISBN: 0813385741 9780813385747 0813387833 9780813387833
OCLC Number: 29549303
Description: xii, 202 pages ; 23 cm.
Contents: 1. Preview: "Persistence of Vision" --
2. Through a Glass Darkly: Terms and Problems for Analysis. No Innocent Eye: Basic Terms and Concepts. Historical Scenes and Theoretical Backdrops. Ethnographic Film as Genre. The Ethnographic Gaze and the Spectacle of Culture Area. Revisions: Ethnographic Film and Anthropological Poetics. On the Nature of Narrative. "After Such Knowledge": Rethinking the Real and the Reel --
3. Celluloid Savages: Salvage Ethnography and the Narration of Disappearance. Backdrop: People, Places, and Positions. Ethnographic Auteurs of the Early Years. An Archaeology of Canadian Anthropology: Institutional and Intellectual Contexts for Ethnographic Filmmaking. Canned Culture: B. E. Norrish, Popular Anthropology, and the Narrative of Salvation. Narration and Lack: The Mechanisms of Meaning. Franz Boas and the Ethnography of the Technical. The Arresting Visions of Franz Boas. Boas via Holm: A Titular Reading. Harlan Smith and the Art of the Ethnographic Film. Replay: Norrish, Boas, and Smith --
4. Totems and the Potlatch People: Absence, Presence, and the Denial of History. Where Have All the Natives Gone? New Modes of Salvage. Personality, Function, Ecology: The Potlatch as Topos. Filmic Ethnography and the Reign of the Museum. Objects and Contexts: Museology and Structural-Functionalism. The New Salvage Ethnography and the Problem of Authenticity. Back to the Future: The Potlatch of Signs. The Center Will Not Hold: New Visions in Visual Anthropology. Visible Culture and the Cult of the Visual. Native History in Absentia. Between Page and Screen --
5. Remembering: The Narratives of Renewal. Second Takes. Contexts for Change: New Pictures and Public Policy. Cultural Revival and the Reconstitution of Museology. The U'mista Cultural Center Productions. Potlatch Reconsidered: Representation and Repetition. Time and Time Again: Ritual and Temporality. Crisis: Salmon and the Land. The Other Side of Development: Assimilation and Cultural Authenticity Among the Bella Bella. Other Sides: Power and Ambivalence in the Narratives of Revival. Conflict as Truth-Value: The Possibilities of Polyphony. The Legitimacy of Memory --
Concluding Remarks: In Praise of Real "Talkies" --
6. Wider Angles: Toward a Conclusion. Toward a Theoretical Conclusion. Recollecting the History of Ethnographic Films and Museums.
Series Title: Studies in the ethnographic imagination.
Responsibility: Rosalind C. Morris.
More information:

Abstract:

Bringing together the insights of literary criticism, film theory, history, and anthropology, this book explores the tradition of ethnographic film on the Northwest Coast and its relationship to the ethnography of the area. Rosalind Morris takes account of these films, organizing her discussions around a series of detailed readings and viewings that treat questions of form and content in broadly historical terms. Asking why the films took the direction they did, each with a distinct representational strategy, and how the written and filmic ethnographies of the area have differed from each other, she points out the complex relationships between particular epistemological positions, aesthetic strategies, and institutional politics. The book explores both the ethnographic imagination of the Northwest Coast and the place of that particular image in the discipline's representation of non-Western "others." The introductory and concluding chapters extend the discussions beyond the Northwest Coast, directly addressing the politics of anthropological poetics through an analysis of the discipline's relationship to the Western mass media's imaging of non-Western peoples. Morris works toward a radically historicized film theory, one that refuses the empiricism of documentary realism while confronting its own aesthetic traditions in order to re-envision them.

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