15 links via Inet: resources

1 http://www.nmnh.si.edu/naa/
2 http://www.anth.ucsb.edu/videos/
3 http://www.visualanthropology.net/
4 http://www.socialsciences.manchester.ac.uk/visualanthropology/
5 http://www.cyberpursuits.com/anthro/filmanth.asp
6 http://www.usd.edu/anth/handbook/watchvid.html
7 http://astro.temple.edu/~ruby/ruby/exposing.html
8 http://www.library.adelaide.edu.au/guide/soc/anthro/subj/visual.html
9 http://www.gla.ac.uk/departments/sociology/links/ethnog.htm
10 http://www.wesleyan.edu/cgi-bin/courses/courselist.cgi?listing=bysemester&term=1051
11 http://www2.lib.udel.edu/subj/anth/soccult/internet.htm
12 http://www.iwf.de/easa/library/library.htm
13 http://www.unine.ch/ethno/cours03/film.html
14 http://www.msh-alpes.prd.fr/sitotheque/Anthropologie.htm
15 http://www.anthro.umontreal.ca/varia/festival04/

© Sybille Amber: Intellectual Property 2005

Filmanthro: New Media Laws

Details und aktuelle Hinweise zur MedienG-Novelle finden Sie unter folgendem Link: http://www.internet4jurists.at/

Shrage, Laurie: Feminist Film Aesthetics

Abstract: “This essay considers some problems with text – centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of iflm texts with viewers´ culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.” (Shrage 1993: 139)

Shrage, Laurie: Feminist Film Aesthetic: A contextual approach, In: Hein, Hilde & Korsmeyer, Carolyn ( Ed.): Aesthetics in Feminist Perspective, PP.139 - 149
1993 USA: Indiana University Press

© Sybille Amber: Intellectual Property 2005

Film Links

Film Festival News, updated regularly:http://www.filmfestivals.com/htm/festivalsnews.shtml
Cinetext:http://pr4hobel.phl.univie.ac.at/index.html

© Sybille Amber: Intellectual Property 2005

Eco, Umberto: Im Labyrinth der Vernunft, PP. 18 - 24

Eco writes „In Richtung einer Theorie der Kultur“ in the chapters of „Erkenntnistheorie und Semiotik“ about political borders and tries to define the field of research:
“Dies einmal vorausgesetzt, kann man die folgenden Bereiche der gegenwaertigen Forschungsarbeit – von den scheinbar „natuerlichen“ und „spontaneren“ Kommunikationsprozessen bis hin zu den komplexen „kulturellen“ Systemen – mit in das semiotische Feld einbeziehen.“ (Eco 1990: 18)
Eco names as fields of research: cinesics and proxemics, languages, visual comunication, systems of objects, structures of action, cultural codes, aesthetics and mass media and communication. Theories and analyses of mass communication would be valid for various genres, if the following conditions were given:
(I) A relatively homogenous industrial society, although in truth it is full of contradictions and differences.
(II) Channels of communication without borders, that reach numerous people in various social contexts.
(III) Productive groups, who work and send messages in an industrial way.
If these three conditions were given, differences of media of communication (film, TV, print media and comics) would downlevel in comparison to common structures.

My critique is: I do not understand, why the field of mass media communication is centered to industrial productions areas / societies, only. I think alphabets, pictures and the like are media of mass communication, too. I think this rather centric view related to media should be fixed for my further studies in semiotics (relating to film studies and anthropology).

Eco, Umberto: Im Labyrinth der Vernunft, PP. 18 - 24
1990 Leipzig: Reclam

© Sybille Amber: Intellectual Property 2005

Kipphoff, Karen: An Outlook on Mediascapes

I found this article at TRANS, it is an essay about visual and performing arts concerning "timebased technological arts, especially film and video" in relation to communicative structures and the perception of subject and object. The increase of media productions in the 1990ies lead to mediatization of society, so new modes of expression emerged. Kipphoff´s thesis states, that

• "Events of both local, global or no apparent relevance transported by media are perceived and reenacted by the individual / collective witnessing and participating in the drama of e. g. the Levinsky affair, Princess Diana´s death and funeral proceedings, the US Presidential Elections of 2000. The relevance of the time based visual materials thus exceeds not only it´s decorative function within the theatre, the arts or tv, it has simultaneously acquired the position of the main character, the spectator and the audience."

Kipphoff supports her hypothesis with examples of texts.

Source: http://www.inst.at/trans/9Nr/kipphoff9.htm

© Sybille Amber: Intellectual Property 2005

Cinetext & Kolik

Various themes and theses on film can be found at: Cinetext - Film & Philosophy

This is a special print about film: Kolik Film 2

Some questions...

...I think (numbered!) about before attending the lectures in ten minutes:

1. What should an anthropology of film research?
2. Whichmethods should anthropologists use in researching film?
3. What kind of films should be researched?
4. Where and how can anthropologists learn filmmaking?
5. What does a documentary contain of?
6. A database of anthropological film: the when, where and why´s?
7. Film and aesthetics: How do they work in anthropology?
8. Aesthetic and Gender: How do they interact?
9. Behind the camera - biased?
10. Mass Media: How can documentaries reach a wider audience?

Since film is a kind of media and some films are related to mass media, I thought this article might be helpful:
Spitulnik, Debra: Anthropology and Mass Media
http://www.philbu.net/media-anthropology/Spitulnik_MediaAnthro.pdf

© Sybille Amber: Intellectual Property 2005

Links

I collected some links at: http://www.unet.univie.ac.at/~a8404316/Visually.htm

© Sybille Amber: Intellectual Property 2005