Paul Henley – författare

Though relatively unsung in the English-speaking world, Jean Rouch (1917-2004) was a towering figure of ethnographic cinema. Over the course of a fifty-year career, he completed over one hundred films, both documentary and fictional, and exerted an influence far beyond academia. Exhaustively researched yet elegantly written, "The Adventure of the Real" is the first comprehensive analysis of his practical filmmaking methods. Rouch developed these methods while conducting anthropological research in West Africa in the 1940s and '50s. His innovative use of unscripted improvisation by his subjects had a profound impact on the French New Wave, Paul Henley reveals, while his documentary work launched the genre of cinema verite. In addition to tracking Rouch's pioneering career, Henley examines the technical strategies, aesthetic considerations, and ethical positions that contribute to Rouch's cinematographic legacy. Featuring over 150 images, "The Adventure of the Real" is an essential introduction to Rouch's work.

Though relatively unsung in the English-speaking world, Jean Rouch (1917-2004) was a towering figure of ethnographic cinema. Over the course of a fifty-year career, he completed over one hundred films, both documentary and fictional, and exerted an influence far beyond academia. Exhaustively researched yet elegantly written, "The Adventure of the Real" is the first comprehensive analysis of his practical filmmaking methods. Rouch developed these methods while conducting anthropological research in West Africa in the 1940s and '50s. His innovative use of unscripted improvisation by his subjects had a profound impact on the French New Wave, Paul Henley reveals, while his documentary work launched the genre of cinema verite. In addition to tracking Rouch's pioneering career, Henley examines the technical strategies, aesthetic considerations, and ethical positions that contribute to Rouch's cinematographic legacy. Featuring over 150 images, "The Adventure of the Real" is an essential introduction to Rouch's work.

Though relatively unsung in the English-speaking world, Jean Rouch (1917–2004) was a towering figure of ethnographic cinema. Over the course of a fifty-year career, he completed over one hundred films, both documentary and fiction, and exerted an influence far beyond academia. Exhaustively researched yet elegantly written, The Adventure of the Real is the first comprehensive analysis of his practical filmmaking methods.

Rouch developed these methods while conducting anthropological research in West Africa in the 1940s–1950s. His innovative use of unscripted improvisation by his subjects had a profound impact on the French New Wave, Paul Henley reveals, while his documentary work launched the genre of cinema-vérité. In addition to tracking Rouch’s pioneering career, Henley examines the technical strategies, aesthetic considerations, and ethical positions that contribute to Rouch’s cinematographic legacy. Featuring over one hundred and fifty images, The Adventure of the Real is an essential introduction to Rouch’s work.

Beyond Observation is structured by the argument that the ‘ethnographicness’ of a film should not be determined by the fact that it is about an exotic culture – the popular view – nor because it has apparently not been authored – a long-standing academic view – but rather because it adheres to the norms of ethnographic practice more generally. On these grounds, the book covers a large number of films made in a broad range of styles across a 120-year period, from the Arctic to Africa, from the cities of China to rural Vermont.Paul Henley discusses films made within reportage, exotic melodrama and travelogue genres in the period before the Second World War, as well as more conventionally ethnographic films made for academic or state-funded educational purposes. The book explores the work of film-makers such as John Marshall, Asen Balikci, Ian Dunlop and Timothy Asch in the post-war period, considering ideas about authorship developed by Jean Rouch, Robert Gardner and Colin Young. It also discusses films authored by indigenous subjects themselves using the new video technology of the 1970s and the ethnographic films that flourished on British television until the 1990s. In the final part of the book, Henley examines the recent work of David and Judith MacDougall and the Harvard Sensory Ethnography Lab, before concluding with an assessmentof a range of films authored in a participatory manner as possible future models.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

Beyond Observation is structured by the argument that the ‘ethnographicness’ of a film should not be determined by the fact that it is about an exotic culture – the popular view – nor because it has apparently not been authored – a long-standing academic view – but rather because it adheres to the norms of ethnographic practice more generally. On these grounds, the book covers a large number of films made in a broad range of styles across a 120-year period, from the Arctic to Africa, from the cities of China to rural Vermont.Paul Henley discusses films made within reportage, exotic melodrama and travelogue genres in the period before the Second World War, as well as more conventionally ethnographic films made for academic or state-funded educational purposes. The book explores the work of film-makers such as John Marshall, Asen Balikci, Ian Dunlop and Timothy Asch in the post-war period, considering ideas about authorship developed by Jean Rouch, Robert Gardner and Colin Young. It also discusses films authored by indigenous subjects themselves using the new video technology of the 1970s and the ethnographic films that flourished on British television until the 1990s. In the final part of the book, Henley examines the recent work of David and Judith MacDougall and the Harvard Sensory Ethnography Lab, before concluding with an assessmentof a range of films authored in a participatory manner as possible future models.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Beyond Observation is structured by the argument that the ‘ethnographicness’ of a film should not be determined by the fact that it is about an exotic culture – the popular view – nor because it has apparently not been authored – a long-standing academic view – but rather because it adheres to the norms of ethnographic practice more generally. On these grounds, the book covers a large number of films made in a broad range of styles across a 120-year period, from the Arctic to Africa, from the cities of China to rural Vermont.Paul Henley discusses films made within reportage, exotic melodrama and travelogue genres in the period before the Second World War, as well as more conventionally ethnographic films made for academic or state-funded educational purposes. The book explores the work of film-makers such as John Marshall, Asen Balikci, Ian Dunlop and Timothy Asch in the post-war period, considering ideas about authorship developed by Jean Rouch, Robert Gardner and Colin Young. It also discusses films authored by indigenous subjects themselves using the new video technology of the 1970s and the ethnographic films that flourished on British television until the 1990s. In the final part of the book, Henley examines the recent work of David and Judith MacDougall and the Harvard Sensory Ethnography Lab, before concluding with an assessmentof a range of films authored in a participatory manner as possible future models.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. A history of ethnographic film from the birth of cinema in 1895 until 2015 that analyses a large number of films made in a broad range of styles, on a broad range of topics and in many different parts of the world.For the period before the Second World War, it considers films made in reportage, exotic melodrama and travelogue genres as well as more conventionally ethnographic films made for academic and state-funded purposes. It then describes how after the war, ethnographic film-makers developed various different modes of authorship inspired by the ideas of Jean Rouch, Robert Gardner and Colin Young. It also considers films made from the 1970s by the indigenous subjects themselves as well as those made for British television up until the 1990s. In the final part, it examines various possible models for the future of ethnographic film.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.