This is the third post in my series on the definition of “ethnographic film.” In the first post I laid out the basic approach I am using: one based on Umberto Eco’s model of listing a “family of resemblances” rather than offering a strict test of a film’s “ethnographicness.” In the second post I showed how this would work in practice, based on a rough sketch of the “family of resemblances” I will be outlining in more detail here.
Before I do that, however, I’d like to take a moment to point readers to Carole McGranahan’s 2012 post “What Makes Something Ethnographic?” There she provides a list of nine features generated by her class. One of the points of she makes is that these features are constantly changing and evolving. This is why, in defining ethnographic film, I chose to dodge the bullet by avoiding the question altogether! Letting others deal with that problem is the easy way out, I don’t deny it; but it also allows me to articulate a definition that can change along with the discipline. Looking back at previous attempts to define ethnographic film, many of them strike me as having been dated before the ink even dried on the paper. Hopefully this more flexible approach can avoid that fate.
And now on to the list! If you feel I missed an important feature, or overlooked something, please let me know in the comments. Continue reading
In my last post I argued that rather than choosing between overly narrow (“closed”) or overly broad (“open”) definitions of ethnographic film, it would be better to follow Uberto Eco’s model of listing a “family of resemblances.” This would consist of a list of features that make a film “ethnographic” but without any two ethnographic films necessarily sharing the exact same list of features. When I wrote that I had a draft list of about sixteen features I had been working on. I had planned to prune it down a bit and sharing it with you today; however, upon further reflection it occurred to me that the longer list could be grouped into four broad categories, or “dimensions,” as follows:
- Discipline: features related to the discipline of anthropology (e.g. films made by anthropologists)
- Norms: features related to the norms and practices of ethnographic research (e.g. research ethics)
- Subject: features related to the topics and peoples discussed in the anthropological literature (e.g. films by or about nomadic peoples)
- Genre: features related to the various styles associated with the genre of ethnographic film (e.g. “reflexivity”) Continue reading
Before this year I never felt the need to come up with a clear definition for what counts as an “ethnographic film.” Constructing better pigeonholes only seems to be of use to the gatekeepers who get to decide which films count and which do not. I still think that’s true, but this year I became one of those gatekeepers! As programmer for the 2017 Taiwan International Ethnographic Film Festival I suddenly found myself needing to articulate some kind of working definition that could be communicated to filmmakers, distributors, festival judges, etc. so that everyone understood what did or did not count as an “ethnographic film” for the purpose of this festival. I failed.
The best I could offer was “I know one when I see one” but this definition cost me dearly. We had over 1,500 entries for the festival, and it took a lot of work to weed out which of those films would go on to the judges and which would not. In the end about two thirds of the films were rejected in the first round. In many cases we only needed to read the film description or watch a few minutes to know that it wasn’t right for the festival. In other cases I ended up watching the whole film before deciding. It was a lot of work.
To be honest, I don’t know if a better definition would really have helped. Festival submissions are free and a lot of filmmakers don’t bother to read the rules before submitting. Many of the rejected films didn’t even meet the most basic entry requirements listed on the submissions page, and hundreds of them were clearly scripted dramas with no claims to being the slightest bit anthropological or ethnographic. Still, the whole process got me thinking about how I would go about trying to define ethnographic film. Here’s what I came up with. I’m posting this in two parts. Today I’ll set out my goals for such a definition, including my overall approach. In a later post I plan to actually sketch out what such a definition might look like. Continue reading
Jennifer Jackson passed away in May of this year at the young age of 39. Here is an excerpt from the obituary that ran on Anthropology News:
We mourn the loss of her brilliant mind, quick smile and mischievous humor. She was known for incisive scholarship on politics and social justice. She wove a keen artistic sense for poetics into her ethnographic observations, as evident in her 2013 book Political Oratory and Cartooning: An Ethnography of Democratic Processes in Madagascar. Her eye-opening insights into the language of American politics were featured in national media. Jennifer served the American Anthropological Association, first on the Executive Board’s student seat then the Society for Linguistic Anthropology’s Executive Board.
There will be a memorial in her honor at the AAA in Denver. I didn’t know her personally, but here in Taiwan we are honoring her by reading her ethnography. It is a great book and well worth reading for many reasons, but I especially loved her description of the discipline of linguistic anthropology in the introduction (pp. xxiii-xxv). (It’s a long quote, but I couldn’t see anything in it that I would want to cut.) Continue reading