Anthropology, Creative Practice and Ethnography – serie

Cinematic Ethnography proposes an interdisciplinary approach to filmmaking at the intersection of art, anthropology and cinema. Rejecting the straightforward representational modes typical of visual anthropology and film studies, the book advances a model grounded in collective aesthetics and collaborative production. It examines filmmakers who use sensory and participatory methods to convey diverse forms of knowledge, arguing that allowing cinema itself to shape audiovisual expressions of reality deepens viewers’ engagement with what is being evoked. Structured as a dialogic journey, the book invites readers to pause and interact with the author’s accompanying films, which illustrate the theories and practices discussed. Written by a practising filmmaker and visual anthropologist, it reimagines cinematic practice not as factual documentation but as a collaborative tool for fostering intercultural dialogue and shared understanding.

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 new collection of essays presents the latest thoughts of one of the world’s leading ethnographic filmmakers and writers on cinema. It will provide essential reading for students in cinema studies, filmmaking, and visual anthropology. The dozen wide-ranging essays give unique insights into the history of documentary, how films evoke space, time and physical sensations, and the intellectual and emotional links between filmmakers and their subjects. In an era of reality television, historical re-enactments, and designer packaging, MacDougall defends the principles that inspired the earliest practitioners of documentary cinema. He urges us to consider how the form can more accurately reflect the realities of our everyday lives. Building on his own practice in filmmaking, he argues that this means resisting the pressures for self-censorship and the inherent ethnocentrism of our own society and those we film.

This new collection of essays presents the latest thoughts of one of the world’s leading ethnographic filmmakers and writers on cinema. It will provide essential reading for students in cinema studies, filmmaking, and visual anthropology. The dozen wide-ranging essays give unique insights into the history of documentary, how films evoke space, time and physical sensations, and the intellectual and emotional links between filmmakers and their subjects. In an era of reality television, historical re-enactments, and designer packaging, MacDougall defends the principles that inspired the earliest practitioners of documentary cinema. He urges us to consider how the form can more accurately reflect the realities of our everyday lives. Building on his own practice in filmmaking, he argues that this means resisting the pressures for self-censorship and the inherent ethnocentrism of our own society and those we film.

Over several years, Christian Suhr followed Muslim patients being treated for jinn possession and psychosis in a Danish mosque and in a psychiatric hospital. Through rich filmic and textual case studies, he shows how the bodies and souls of Muslim patients become a battlefield between the moral demands of Islam and the psychiatric institutions of European nation-states. The book reveals how both psychiatric and Islamic healing work to produce relief from pain, and also entail an ethical transformation of the patient and the cultivation of religious and secular values through the experience of pain. Creatively exploring the analytic possibilities provided by the use of a camera, both text and film show how disruptive ritual techniques are used in healing to destabilise individual perceptions and experiences of agency, which allows patients to submit to the invisible powers of psychotropic medicine or God.

Over several years, Christian Suhr followed Muslim patients being treated for jinn possession and psychosis in a Danish mosque and in a psychiatric hospital. Through rich filmic and textual case studies, he shows how the bodies and souls of Muslim patients become a battlefield between the moral demands of Islam and the psychiatric institutions of European nation-states. The book reveals how both psychiatric and Islamic healing work to produce relief from pain, and also entail an ethical transformation of the patient and the cultivation of religious and secular values through the experience of pain. Creatively exploring the analytic possibilities provided by the use of a camera, both text and film show how disruptive ritual techniques are used in healing to destabilise individual perceptions and experiences of agency, which allows patients to submit to the invisible powers of psychotropic medicine or God.

Over several years, Christian Suhr followed Muslim patients being treated for jinn possession and psychosis in a Danish mosque and in a psychiatric hospital. Through rich filmic and textual case studies, he shows how the bodies and souls of Muslim patients become a battlefield between the moral demands of Islam and the psychiatric institutions of European nation-states. The book reveals how both psychiatric and Islamic healing work to produce relief from pain, and also entail an ethical transformation of the patient and the cultivation of religious and secular values through the experience of pain. Creatively exploring the analytic possibilities provided by the use of a camera, both text and film show how disruptive ritual techniques are used in healing to destabilise individual perceptions and experiences of agency, which allows patients to submit to the invisible powers of psychotropic medicine or God.

Over several years, Christian Suhr followed Muslim patients being treated for jinn possession and psychosis in a Danish mosque and in a psychiatric hospital. Through rich filmic and textual case studies, he shows how the bodies and souls of Muslim patients become a battlefield between the moral demands of Islam and the psychiatric institutions of European nation-states. The book reveals how both psychiatric and Islamic healing work to produce relief from pain, and also entail an ethical transformation of the patient and the cultivation of religious and secular values through the experience of pain. Creatively exploring the analytic possibilities provided by the use of a camera, both text and film show how disruptive ritual techniques are used in healing to destabilise individual perceptions and experiences of agency, which allows patients to submit to the invisible powers of psychotropic medicine or God.

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.

Cinematic nightscapes explores how the darkness of night in contemporary Cuba becomes a powerful site for political expression, cultural imagination and artistic experimentation. As the rhythms of the day give way to night, a different Cuba emerges, one where protests take shape, marginalized voices reclaim space, and filmmakers reimagine ethnographic and documentary storytelling. This book offers a sensorial and creative journey through Cuban documentary films that engage with the night not just as backdrop, but as a central character—shaping emotions, aesthetics and socio-political discourse. Blending theory with rich visual analysis, Cinematic Nightscapes asks: How does the night alter ethnographic practice? How do Cuban filmmakers use the night to imagine new futures? Through a reflexive, multimodal approach, the book invites readers to experience the complexities of nocturnal life in Cuba, where darkness illuminates new possibilities.Electronic editions of the introduction, chapter 1 and chapter 2 are freely available under a Creative Commons (CC BY-NC-ND) licence, and can be found on our platform manchesterhive: Introduction: https://www.manchesterhive.com/display/9781526148858/9781526148858.00006.xmlChapter 1: https://www.manchesterhive.com/display/9781526148858/9781526148858.00007.xmlChapter 2: https://www.manchesterhive.com/display/9781526148858/9781526148858.00008.xml

The present volume emerges from a practice-based research that focuses on experiences of migration and border crossing during what are perceived as existential ‘turning points’ by the protagonists themselves. It recognizes the fundamental role that imagination plays in people’s perceptions of reality, in their decisions and actions, and finally in the way they narrate their experiences. As a consequence, it makes a stance for ethnographic practice to include more creative and collaborative methodologies in order to explore such intangible and unstructured realms of existence. In particular, this ethnography developed theoretically and methodologically in close collaboration with a group of Egyptian men who crossed the Mediterranean Sea in search of better living opportunities in Italy, by engaging them through a range of the co-creative processes such as theatre improvisations, storytelling practices, collaborative filmmaking and participatory animation.

Sonic ethnography makes a compelling argument for taking sound seriously as a crucial component of social life and as an ethnographic form of representation. This volume explores the role of sound-making and listening practices in the formation of local identities in the southern Italian region of Basilicata. With an approach that cuts across sensory anthropology, sound studies and ethnomusicology, Sonic ethnography demonstrates how acoustic tradition is made and disrupted and acoustic communities are brought together in shared temporality and space. Based extensive research, this volume provides an innovative take on soundful cultural performances such as tree rituals, carnivals, pilgrimages and more informal musical performances, with particular attention to the interactions between classic ethnographic scholarship from the past century and the local politics of heritage.Featuring stunning colour photographs and more than an hour of sound recordings, Sonic ethnography uses a unique combination of media to investigate distinctive ways of knowing, beyond more traditional ethnographic forms of representation. Two methodological chapters, respectively on music-making as creative research practice and on photo-ethnography, make the book an essential contribution for those interested in the production of sounds and still images as relational and interactive approaches to fieldwork. The pioneering anthropologist of sound, Steven Feld, collaborated to some of the research and contributed to the book an afterword and a soundscape composition.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

Translations is a personal history written at the intersection of colonial anthropology, creative practice and migrant ethnography. Renowned postcolonial scholar, public artist and radio maker, UK-born Paul Carter documents and discusses a prodigiously varied and original trajectory of writing, sound installation and public space dramaturgy produced in Australia to present the phenomenon of contemporary migration in an entirely new light.Migrant space-time, Carter argues, is not linear, but turbulent, vortical and opportunistic. Before-and-after narratives fail to capture the work of self-becoming and serve merely to perpetuate colonialist fantasies. The ‘mirror state’ relationship between England and Australia, its structurally symmetrical histories of land theft and internal colonisation, repress the appearance of new subjects and subject relations. Reflecting on collaborations with Aboriginal artists, Carter argues for a new definition of the stranger-host relationship predicated on recognition of Aboriginal sovereignty. Carter calls the creative practice that breaks the cycle of repeated invasion ‘dirty art’.Translations is a passionately eloquent argument for reframing borders as crossing-places: framing less murderous exchange rates, symbolic literacy, creative courage and, above all, the emergence of a resilient migrant poetics will be essential.

This remarkably unique book takes the conceit of the loneliness room to show how everyday artistic practice opens up loneliness to new definitions and new understandings. Refusing to pathologise loneliness, the book draws on the creative submissions supplied by its participants to demonstrate that being lonely can mean different things to different people in differing contexts. Filled with the photographs, paintings, videos, songs, and writings of its participants, The loneliness room is a deeply moving account of loneliness today.https://sredmond4.wixsite.com/lonelyroom

Performing the jumbled city is a complex artefact beyond its own materiality. Linked to a dedicated website hosting additional audio-visual materials, the book acts as a connecting device allowing an exchange between texts, audio-visual materials, and original artworks, situating it in the emerging field of multi-modal ethnography. From this stance, and as an edited collection co-authored with urban indigenous artists and activists, it interrogates the ways in which knowledge is built and shared. The book is constructed as a particular kind of edited collection, shifting between different authorships. The resulting interaction between individual and collective essays draws together scholars’ and activists’ perspectives in a rich exchange between textual, visual and dramatic sections, for the book is organised around the original script of the site-specific performance Santiago Waria, and the related exhibition MapsUrbe.Making a claim for creation, rather than recuperation, the essays contained in the book put forward alternative imaginations that disrupt the social and material landscape of the (post)colonial city, defying the spatialities usually assigned to colonised bodies and subjects. As such, and actively engaging with current debates through collective writing by indigenous people raising questions in terms of decolonisation, the book stands as both an academic and a political project, interrogating the relationship between activism and academia, and issues of representation, authorship, and knowledge production.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

The art of the observer is a personal guide to documentary filmmaking, based on the author’s years of pioneering work in the fields of ethnographic and documentary cinema. It stands in sharp contrast to books of academic film criticism and handbooks on visual research methods, being based extensively on concrete examples from the author’s own filmmaking experience. The book places particular emphasis on observational filmmaking and the ways in which this approach is distinct from other forms of documentary. It offers both practical insights and reflections on what it means, in both emotional and intellectual terms, to attempt to represent the lives of others. The book makes clear that documentary cinema is not simply a matter of recording reality, but of artfully organising the filmmaker’s observations in ways that reveal the complex patterns of social life.

The art of the observer is a personal guide to documentary filmmaking, based on the author’s years of pioneering work in the fields of ethnographic and documentary cinema. It stands in sharp contrast to books of academic film criticism and handbooks on visual research methods, being based extensively on concrete examples from the author’s own filmmaking experience. The book places particular emphasis on observational filmmaking and the ways in which this approach is distinct from other forms of documentary. It offers both practical insights and reflections on what it means, in both emotional and intellectual terms, to attempt to represent the lives of others. The book makes clear that documentary cinema is not simply a matter of recording reality, but of artfully organising the filmmaker’s observations in ways that reveal the complex patterns of social life.

Empirical art: Filmmaking for fieldwork in practice is an insightful exploration of what the craft of filmmaking brings to social science research. Providing creative avenues on how to narrate encounters, relationships, and experiences during fieldwork, this comprehensive volume offers a rich tapestry of theoretical explorations and explorative methodologies. Skilfully connecting the worlds of ethnography, art and cinema, the contributors in this book act as a compass for filmmakers and researchers venturing to use a camera and microphone to relate and narrate their research collaborations and fieldsites.Drawing from the authors’ extensive experience in disciplines like social anthropology, environmental humanities, and political science, “Empirical Art” breaks down the intricate process of crafting ethnographic films that departs from the researcher's subjectivity. Covering aspects of filmmaking from conceptualisation to production and distribution, readers are equipped with a treasure trove of collaborative techniques, innovative approaches, and ethical considerations necessary to generate and examine storytelling practices in contemporary fields of study.The authors discuss the significance of the multiple roles that technologies of filmmaking play in reflecting on cultural practices, social dynamics, and (beyond) human storytelling and their transformative potentials. Whether a seasoned filmmaker, an aspiring ethnographer, or an academic seeking new dimensions for their research, Empirical Art serves as a guide to integrating visual storytelling, cinema craft and empirical research.

Cinematic ethnography proposes an interdisciplinary approach to theories and practices at the intersection of art, anthropology and cinema. The book proposes a model of collective aesthetics and collaborative filmmaking, going beyond the straightforward representation of reality that is so prevalent in visual anthropology and film studies.This book explores the practices of filmmakers who utilise sensory collaborative approaches to convey diversity of knowledge. It affirms that the more we allow cinema to infuse audio-visual transmissions of reality, the more we might be able to experience the evoked reality. The book proposes a dialogic journey, inviting the reader to pause during the reading of the book to watch some of the author’s films, which exemplify the discussed theories and practices.This innovative work from a practising filmmaker and visual anthropologist invites us to rethink how our cinematic practices, rather than aiming at factual representation and description, might instead contribute to a collaborative understanding of intercultural dialogue and shared knowledge. For those interested in visual anthropology, documentary film or broader questions about the nature of art and representation, Cinematic ethnography is a thought-provoking invitation to see – and tell – things differently.