Download Cross-Cultural Filmmaking: A Handbook for Making Documentary by Ilisa Barbash PDF

By Ilisa Barbash

Addressing the worries of anthropologists, this remarkable instruction manual covers the sensible, technical, and theoretical elements of filming info by no means sooner than assembled in a single position. The booklet is full of important illustrations and revealing pictures of filmmakers in motion and covers documentary and ethnographic filmmaking of all types. fifty six images. 24 line illus.

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Additional info for Cross-Cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Videos

Example text

But, paradoxical as it may seem, film seems to connote both immediacy and timelessness. Events captured on film seem to be locked in time, virtually repeating themselves at every screening. As film critic Brian Winston points out, "these texts have extended, perhaps nearly indefinite, lives. Paul, the failed salesman in the Maysles film of that name, is constantly exposed as such wherever documentary film classes are taught or Maysles retrospectives are held. The anonymous midwestern boy who spews his heart up as a result of a drug overdose in Wiseman's Hospital (1970), spews away every time the film is screened.

Location Many of you will start with a location, and decide what to shoot once you see what emerges during your preproduction research or fieldwork. Quite a few documentary (and especially ethnographic) filmmakers have had a long-term dedication to one locale, or to a single group of • 37 • people. Both Jean Rouch and John Marshall have worked (on and off) with the same people over a thirty-year period. Robert Gardner's latest film, Roads End (in progress), was shot among the Dani, with some of the individuals featured in his earlier film Dead Birds, which he completed in 1963.

They derive their resonance from real relationships that the viewers can relate to in their own society. When James Blue and David MacDougall set out in 1972 to make Kenya Boran (1974), they searched for a family that exemplified the rapid social and economic change that Boran society was undergoing at the time. In the end, they couldn't find one. Instead, they structured the film around four characters, two fathers and their sons. The fathers were from different villages, but knew each other already.

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