Jay Ruby – författare

This book is intended for scholars and students of media and communication studies, ethics, and moral philosophy.

"Made to be Seen" brings together leading scholars of visual anthropology to examine the historical development of this multifaceted and growing field. Expanding the definition of visual anthropology beyond more limited notions, the contributors to "Made to be Seen" reflect on the role of the visual in all areas of life. Different essays critically examine a range of topics: art, dress and body adornment, photography, the built environment, digital forms of visual anthropology, indigenous media, the body as a cultural phenomenon, the relationship between experimental and ethnographic film, and more. The first attempt to present a comprehensive overview of the many aspects of an anthropological approach to the study of visual and pictorial culture, "Made to be Seen" will be the standard reference on the subject for years to come. Students and scholars in anthropology, sociology, visual studies, and cultural studies will greatly benefit from this pioneering look at the way the visual is inextricably threaded through most, if not all, areas of human activity.

"Made to be Seen" brings together leading scholars of visual anthropology to examine the historical development of this multifaceted and growing field. Expanding the definition of visual anthropology beyond more limited notions, the contributors to "Made to be Seen" reflect on the role of the visual in all areas of life. Different essays critically examine a range of topics: art, dress and body adornment, photography, the built environment, digital forms of visual anthropology, indigenous media, the body as a cultural phenomenon, the relationship between experimental and ethnographic film, and more. The first attempt to present a comprehensive overview of the many aspects of an anthropological approach to the study of visual and pictorial culture, "Made to be Seen" will be the standard reference on the subject for years to come. Students and scholars in anthropology, sociology, visual studies, and cultural studies will greatly benefit from this pioneering look at the way the visual is inextricably threaded through most, if not all, areas of human activity.

Here, Jay Ruby - a founder of visual anthropology - distills his 30-year exploration of the relationship of film and anthropology. Spurred by a conviction that the ideal of an anthropological cinema has not even remotely begun to be realized, Ruby argues that ethnographic filmmakers should generate a set of critical standards analogous to those for written ethnographies. Cinematic artistry and the desire to entertain, he argues, can eclipse the original intention, which is to provide an anthropological representation of the subjects. The book begins with analyses of key filmmakers (Robert Flaherty, Robert Garner and Tim Asch) who have striven to generate profound statements about human behaviour on film. Ruby then discusses the idea of research film, Eric Michaels and indigenous media, the ethics of representation, the nature of ethnography, anthropological knowledge and film, and lays the groundwork for a critical approach to the field that borrows selectively from film, communication, media and cultural studies. Witty and original, yet intensely theoretical, this collection is a major contribution to the field of visual anthropology.

Here, Jay Ruby - a founder of visual anthropology - distills his 30-year exploration of the relationship of film and anthropology. Spurred by a conviction that the ideal of an anthropological cinema has not even remotely begun to be realized, Ruby argues that ethnographic filmmakers should generate a set of critical standards analogous to those for written ethnographies. Cinematic artistry and the desire to entertain, he argues, can eclipse the original intention, which is to provide an anthropological representation of the subjects. The book begins with analyses of key filmmakers (Robert Flaherty, Robert Garner and Tim Asch) who have striven to generate profound statements about human behaviour on film. Ruby then discusses the idea of research film, Eric Michaels and indigenous media, the ethics of representation, the nature of ethnography, anthropological knowledge and film, and lays the groundwork for a critical approach to the field that borrows selectively from film, communication, media and cultural studies. Witty and original, yet intensely theoretical, this collection is a major contribution to the field of visual anthropology.

The World of Francis Cooper is a biographical exploration of Francis Cooper, who practiced photography as an aesthetic recreation while a medical student at the University of Pennsylvania. It offers an unusual perspective on turn-of-the century American photography by examining the work of an unknown avocational photographer.Cooper was a native Philadelphian of sufficient means to indulge in several recreations: competitive shooting, bicycling, and photography. From 1896 to 1901 he traveled to the Pennsylvania countryside to hunt, fish, bicycle, court his wife, and photograph landscapes, genre farm scenes, and the spoils of his hunts. In the city he took snapshots of his family, and of his friends and colleagues, as well as candids and genre studies of the romance of city life. Largely confined to this five-year period, his work in photography ranged over several photographic practices from landscapes clearly attributable to the naturalistic school to pictorialist cityscapes.The World of Francis Cooper represents a social approach to photographic history and argues for a cultural understanding of photography as social practice. Reflecting on the life and work of Francis Cooper is a way to deepen our understanding of the place photography has assumed in the lives of many Americans while at the same time having the pleasure of seeing his wonderful photographs.

Like Conrad's Marlow, whose tale of journeying into the "heart of darkness" gives us as much insight into one man's personality as it does into the mysteries of the dark world he explored, so the anthropologist's record of another culture contains more than objective, scientific data about his investigation. Embedded within it are clues to the "personality" of anthropology itself: the attitudes, approaches, even prejudices that at any given stage in history are inextricable from the ideology of the anthropologist. Therefore, the mirror he holds up to show us another culture can never be a perfect one. His own professional attitude toward his subject, as well as his choice of medium, are factors that create "cracks" in the mirror of anthropology through which we believe we view the life of other cultures.Hence, the concept of "reflexivity" and the striving to recognize how it warps in the portrayal of anthropological truth lie at the core of the twelve finely wrought essays collected in this volume. Wide ranging in geography as well as viewpoint, they highlight various methods and media (film, ethnography, text) through which an anthropologist chooses to portray a culture, and the various forms, such as art, theater, and ritual, through which a culture portrays itself. Recognizing the link between these two processes provides the key to cultural and methodological self awareness.Reflexivity is defined and clarified in the introduction and in three of the essays, and the remaining nine essays evince the principle through fieldwork and startling case studies. Essays by Jay Ruby and Eric Michaels shed new light on the enormous potential of film and video, showing how a form generally thought to be "nonscientific" can in fact give fresh insight into the scientific premises underlying the discipline's methodology. Essays by Barbara Babcock and Carol Ann Parssinen focus on the novel and ethnography, examining existing works.Anthropologists, as well as students of film, art, and theater, will find that this intriguing work begins to redefine traditional distinctions between science and the arts and brings to light fresh resources that are utilized in the search for anthropological truth.Contributors: Richard Schechner, Victor Turner, Barbara Myerhoff, Jay Ruby, Eric Michaels, Dennis Tedlock, George Marcus, Paul Rabinow, Barbara Babcock, Carol Ann Parssinen, and Dan Rose.

Over the past quarter century, dramatic technological advances in the production, manipulation, and dissemination of images have transformed the practices of journalism, entertainment, and advertising as well as the visual environment itself. From digital retouching to wholesale deception, the media world is now beset by an unprecedented range of moral, ethical, legal, and professional challenges. Image Ethics in the Digital Age brings together leading experts in the fields of journalism, media studies, and law to address these challenges and assess their implications for personal and societal values and behavior.Among the issues raised are the threat to journalistic integrity posed by visual editing software; the monopolization of image archives by a handful of corporations and its impact on copyright and fair use laws; the instantaneous electronic distribution of images of dubious provenance around the world; the erosion of privacy and civility under the onslaught of sensationalistic twenty-four-hour television news coverage and entertainment programming; and the increasingly widespread use of surveillance cameras in public spaces. This volume of original essays is vital reading for anyone concerned with the influence of the mass media in the digital age.Contributors: Howard S. Becker; Derek BousÉ, Eastern Mediterranean U, Cyprus; Hart Cohen, U of Western Sydney; Jessica M. Fishman; Paul Frosh, Hebrew U of Jerusalem; Faye Ginsburg, New York U; Laura Grindstaff, U of California, Davis; Dianne Hagaman; Sheldon W. Halpern, Ohio State U; Darrell Y. Hamamoto, U of California, Davis; Marguerite Moritz, U of Colorado, Boulder; David D. Perlmutter, Louisiana State U; Dona Schwartz, U of Minnesota; Matthew Soar, Concordia University; Stephen E. Weil, Smithsonian Institution’s Center for Education and Museum Studies.