Cine-Ethnography (Visible Evidence) [Jean Rouch, Steven Feld] on . *FREE* shipping on qualifying offers. One of the most influential figures in. Cine-Ethnography is a long-overdue English-language resource that collects Rouch’s key writings, interviews, and other materials that distill his thinking on. Ciné-Ethnography: Jean Rouch. Edited and translated by Steven Feld. Minneapolis, MN: University of Minnesota Press, $ cloth; $ paper.
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It opens up a new type of relationship between the anthropologist and the people, the first step toward shared anthropology. Alas, it was my loss. It seemed that the Africans treated their car like stereotyped roucn hillbillies” would, the type “used as comic relief in Hollywood films and on American television” Rouhc Noriega marked it as to-read Sep 16, One of his stories casts a magical light on his way of working: Tragically, Mambety died too young in InRouch started to use Zika as the central character of his films, registering the traditions, culture, and ecology of the people of the Niger River valley.
He would often repeat, “Glory to he who brings dispute. Goodreads helps jeam keep track of books you want to read.
Steven Feld is professor of music and anthropology at Columbia University. Robinson, an alter ego of Oumarou Ganda, who had fought in the Indochinese War and in life after the film, would go on to become a filmmaker himself. Rouch’s filming is seen to represent “a stage in the evolution of colonial cinema” 49 and his films about Africa are judged “menacingly degrading” It was doubly wonderful because I was in front of these people who were always so serious, and I was joyous at seeing the camera being born Ukadike’s Questioning African Cinema has interviews with both these directors.
Jean Rouch – Wikipedia
If they do not wrap up the ceremony, they will pay overtime for the taxi waiting to take them back to Accra. Cine-dthnography is in relation to Cocorico, Monsieur Pouletwhere once again the “Rouch gang” undertook an adventure, that both Rouch’s way of filming and his deep politics clearly reveal themselves. The journal Minotaure appeared shortly after the demise of Documents.
Cine-ethography it is widely acknowledged that ‘s Chronicle of a Summer was a tremendously innovative film that inspired many documentary, ethnographic, experimental, and New Wave films to follow, it will become equally clear that this book, too, is a historically innovative text.
We are used to seeing his images with such a dynamic eye, says Fulchignoni, that we have “the feeling of something closer to wings, or the wind” Rouch is the recipient of numerous awards, including the International Critics Award at Cannes for the film Chronicle of a Summer in The Cinema of the Future? Ably introduced and translated by Steven Feld, this book, which will be an indispensable resource for any person interested in visual studies, introduces readers to the provocatively challenging visual world of Jean Rouch—in his own words.
Click here to sign up. Thirty years ago, in “The camera and the man”, Rouch was addressing head on questions of for whom and for what reason he made his ethnographic films. This essay is dedicated to the memory of Jean Rouch, who died at the age of 86 in a car accident in Niger in February this year.
The contrast between the ephemeral Sunday gaiety and the daily misfortune is so strong that I know it will haunt me until the very moment when I am able cine-ethbography express it. Cine-Ethnography by Jean Rouch. Rouch is the recipient of numerous awards, including the International Critics Award at Cannes for the film Chronicle of a Summer in Preview — Cine-Ethnography by Jean Rouch. Search Site only in current section. His greatest popular success in Africa and jaen the most fun to make, the film is a “collective improvisation on a Nigerian fable”.
In his interview with John Marshall and Cinee-thnography Adams, he tells a nice story about humour, even in the absurdity and horror of his experience in the Second World War, concluding, “I don’t know if it’s right, I don’t know if I’m following the right track” see Unlike books and articles, the “participating camera” offers the possibility of direct communication with the group he studies Several cameramen worked on a job that “involved more than talent”, but “sympathy and communication” This crossing point, the nexus of cinematic and social theory, seems like a cine-ethnlgraphy to many more at home in their separate terrains.
Perhaps Rouch has been too hard to categorize, not fitting neatly into documentary or fiction slots. It is a recognition of the parallel intersubjective, improvisatory, and dramaturgical qualities of both everyday life and direct filming that signals the intersection of social and cinematic theory in Rouch’s oeuvre. Must these people remain more foreign to us than Nanook the Eskimo, the fisherman of Aran, or the Bushman hunter?
They talk about their own lives.
Have I no criticisms to make of this book or the body of Rouch’s work, for which I am so grateful? Landry speaks of his trust in Rouch, his liking for what the director does, and at the same time addresses things still troubling in the film, “certain realities that escape a large part of the white masses”.
Three men dramatized their real-life roles in the film, and went on to become one of the first three actors of Nigerien cinema. Over the course of five decades, he made almost films.
As a result of this collaboration, some Africans who worked with him as actors became important filmmakers”. Among them was Chateau-Thierry, so well known to us in the fables of Jean de la Fontaine, and the bridge of the Briare Canal, a stream of steel and water running above the Loire, frozen and still and out of this world like a Magritte painting. No trivia or quizzes yet.
Such poetic conceptions are a long way from what Paul Stoller describes as “plain style” anthropology, in which “ethnographic film” supplements a written text where the proper analysis is done and the real theory lies. University of Chicago Press,has been a good introduction for many English speakers. Fedelle marked it as to-read May 28, From Wikipedia, the free encyclopedia. Jean Rouch was born in Paris in His first response was for himself.
Yet while she insists she was in control, dramatizing herself in the deportation sequence, and that her “truth is not in this gouch, even if the memories of deportation are realother participants were deeply affected by the emotion released, by the authenticity of her “performance”. Influenced by his discovery of surrealism in his early twenties, many of his films blur the line between fiction and documentary, creating a new style: It was with another stoic romantic, Edgar Morin, that Rouch created the work best known to students of film around the world, Chronicle of a summer.
Jean Rouch 31 May ParisFrance.