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    <title>Anthrovision</title>
    <link>http://journals.openedition.org/anthrovision</link>
    <description>Journal focused on visual anthropology and the anthropology of the visual </description>        
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        <rdf:li resource="http://journals.openedition.org/anthrovision/9325" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/9235" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/8634" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/2288" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/2291" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/1477" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/1488" />
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  <item rdf:about="http://journals.openedition.org/anthrovision/9334">
    <title>Mending Gaps with Multimodal Care</title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en">Prologue: </span></p>
      <p class="texte"><em><span xml:lang="en" lang="en">This is a slightly unusual commentary since it was written in response to three oral presentations at the EASA 2020 meetings of “Illuminating Futures of the Life Course through Visual and Digital Media” should be of which only one appears in written form within this volume. I felt, however, that the points I wanted to make here are better explicated by reference to all three papers which as will become apparent have many complementary features in relation to each other. I hope that the way the material has been incorporated within this commentary has allowed readers to at least gain the gist of what those additional oral presentations were trying to achieve. For the same reason the commentary itself has the tone of an oral presentation.</span></em></p>
      <p class="texte"><span xml:lang="en" lang="en">First to say many thanks for inviting me to discuss these three excellent papers. I am going to start with my own Road to Damascus moment. I have been fortunate over the last ten years to have been responsible for two large scale projects: t...</span></p>]]></description> 
    <dc:creator>Daniel Miller</dc:creator>
    <link>http://journals.openedition.org/anthrovision/9334</link>
    <dc:date>2023-12-01</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/9325">
    <title>Filming as a Care Practice </title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en">These are three distinct essays that interrogate what happens when the anthropologist studying aging and care envisions their fieldwork through the lens of the video camera and its outputs. The intersection between the anthropology of care/aging and visual anthropology has been a relatively under-theorized nexus, but these excellent essay contributions point toward some possible and productive directions. In short, these essays describe how filming and watching particular snapshots of life can constitute a form of care practice. In other words, what to film and see are not just aesthetic decisions, but also ones that are bound up with everyday ethics and understandings/instantiations of different care modalities. Depicting with dignity (and appreciating) how persons’ age, and in many cases how people experience and live through dementia, are what is at stake for these authors. Not all of them employ visual anthropological methods in the same way though. In the first essay by Verónic...</span></p>]]></description> 
    <dc:creator>Philip Kao</dc:creator>
    <link>http://journals.openedition.org/anthrovision/9325</link>
    <dc:date>2023-12-01</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/9235">
    <title>Phillip Vannini, ed. The Routledge International Handbook of Ethnographic Film and Video. </title>
    <description><![CDATA[
      <h1 class="texte">Introduction</h1>
      <p class="texte"><span xml:lang="en" lang="en">My first impression was that </span><em><span xml:lang="en" lang="en">The</span></em><span xml:lang="en" lang="en"> </span><em><span xml:lang="en" lang="en">Routledge International Handbook</span></em><span xml:lang="en" lang="en"> </span><em><span xml:lang="en" lang="en">of</span></em><span xml:lang="en" lang="en"> </span><em><span xml:lang="en" lang="en">Ethnographic Film and Video </span></em><span xml:lang="en" lang="en">was the third broad-based overview of visual anthropology, so I requested a review copy. However, I had to adjust my impression to some extent when the publisher published the book on the online application Bookshelf. Nevertheless, I still take the monograph </span><em><span xml:lang="en" lang="en">Principles of Visual Anthropology</span></em><span xml:lang="en" lang="en"> (Hockings 1975, reissued in 1995 and 2003) as a point of departure, as it has greatly contributed to the establishment of visual anthropology as a special subdiscipline, and is probably the most frequently cited book in this field. Its sequel, </span><em><span xml:lang="en" lang="en">Memories of the Beginnings of Ethnographic Film </span></em><span xml:lang="en" lang="en">(Engelbrecht 2007), is a valuable testament to important figures and methods of visual anthropology and its development. </span><em><span xml:lang="en" lang="en">The Routledge International Handbook of Ethnographic Film and Video</span></em><span xml:lang="en" lang="en"> was edited by Phillip Vannini, who specializes in social and cultural geography, cultural studies, and sociology, ...</span></p>]]></description> 
    <dc:creator>Nadja Valentinčič Furlan</dc:creator>
    <link>http://journals.openedition.org/anthrovision/9235</link>
    <dc:date>2023-12-01</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/8634">
    <title>The New Moesgaard Museum, Denmark</title>
    <description><![CDATA[
      <p class="resume">Ethnographic exhibitions play an increasingly prominent role in rethinking how anthropology can engage in contemporary debates across academic and public settings. Since its inception in autumn 2014, the new Moesgaard Museum in Aarhus, Denmark, has provided a space for experiments in ethnographic exhibition making through long-term and temporary exhibitions, alongside a smaller laboratory space for university staff, students and others. Focusing on the permanent installation <em>Time Travellers</em>, and the long-term exhibition <em>The Lives of the Dead</em>, this review examines the challenges and potentials of presenting ethnography in contemporary museum settings. </p>]]></description> 
    <dc:creator>Andrew Irving</dc:creator>
    <link>http://journals.openedition.org/anthrovision/8634</link>
    <dc:date>2022-12-13</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/2288">
    <title>Vivid Memories: A History of Aboriginal Art. Musée d’Aquitaine, Bordeaux, February 2014</title>
    <description><![CDATA[
      <h1 class="texte">Vivid memories of Bordeaux</h1>
      <p class="texte"><span xml:lang="en" lang="en">The following response to the exhibition </span><em><span xml:lang="en" lang="en">Mémoires vives: une histoire de l’art aborigène</span></em><span xml:lang="en" lang="en">, some time after its closure, writes through memory and photographs of the exhibition, and the catalogue. The lived experience of the exhibition is supplemented by slow thinking, away from the museum and far from the origins of the artworks. My work is framed within Australian Studies and uses methods of ficto-critical writing and ego-histoire to write through the body in response to Australian Aboriginal art displayed in Europe, away from home and out of country.</span><span xml:lang="en" lang="en">In this review I think about the themes of juxtaposition and intercultural connections proposed by the exhibition in Bordeaux. </span></p>
      <p class="texte"><span xml:lang="en" lang="en">The Musée d’Aquitaine was founded on the disciplines of archaeology, history and ethnography, in the former University of Bordeaux Faculty of Science and Letters, once home to the ‘father of sociology’, Émile Durkheim. Within this setting of cultural exchange and intellectual enquiry cu...</span></p>]]></description> 
    <dc:creator>Helen Idle</dc:creator>
    <link>http://journals.openedition.org/anthrovision/2288</link>
    <dc:date>2017-01-05</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/2291">
    <title>Barbara Glowczewski, Totemic Becomings. Cosmopolitics of the Dreaming</title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en">Barbara Glowczewski’s book </span><em><span xml:lang="en" lang="en">Totemic Becomings. Cosmopolitics of the Dreaming</span></em><span xml:lang="en" lang="en"> begins with the visual: the white and red lines of the ritual body painting of Melody Napurrurla</span><em><span xml:lang="en" lang="en"> </span></em><span xml:lang="en" lang="en">(Lajamanu, 1984) lure the reader into the manifold worlds and cartographies of Warlpiri cosmologies and beyond. The Brazilian publisher, n-1, produces what he calls “object-books” with a special touch for each title. For </span><em><span xml:lang="en" lang="en">Totemic Becomings</span></em><span xml:lang="en" lang="en">, one or several hand painted red lines cross the side of each book as if continuing the body painting that features on the front and back pages.</span></p>
      <p class="titreillustration">Barbara Glowczewski: <em>Totemic Becomings</em></p>
      <p class="texte"><span xml:lang="de" lang="de"><img src="docannexe/image/2291/img-1-small200.jpg" alt="Image 10000000000003A00000030F3772CDA3.jpg" /></span></p>
      <p class="creditillustration">n-1 Publications </p>
      <p class="titreillustration"><strong><span xml:lang="en" lang="en"><em>Yumurrpa Yarla </em>[site of the Yam Dreaming], 1991, acrylic on canvas by Yulyulu Napurrurla, 124x124cm</span></strong></p>
      <p class="texte"><span xml:lang="de" lang="de"><img src="docannexe/image/2291/img-2-small200.jpg" alt="Image 10000000000002E1000002E74AA8DA45.jpg" /></span></p>
      <p class="legendeillustration">Lajamanu, Australia, private collection </p>
      <p class="creditillustration"><span xml:lang="en" lang="en">Published in </span><em><span xml:lang="en" lang="en">Totemic Becomings</span></em><span xml:lang="en" lang="en">, inside cover</span> </p>
      <p class="texte"><span xml:lang="en" lang="en">Opening the book the reader is offered another cartography: </span><em><span xml:lang="en" lang="en">Yumurrpa Yarla </span></em><span xml:lang="en" lang="en">[site of the Yam Dreaming] (Yulyulu Napurrurla, 1991). Composed as a rich assemblage of images and text, the book continues as ...</span></p>]]></description> 
    <dc:creator>Gerko Egert</dc:creator>
    <link>http://journals.openedition.org/anthrovision/2291</link>
    <dc:date>2017-01-05</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/1477">
    <title>Manzo, Lidia K. ed. Culture and Visual Forms of Power. Experiencing Contemporary Spaces of Resistance</title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en">No matter from which subdivision of Anthropology researchers may come from they are still challenged by the singular problem of addressing and defining the meaning of culture. Intellectuals such as Michel Foucault or Walter Benjamin represented a turn in the study of culture in the 20</span><sup><span xml:lang="en" lang="en">th</span></sup><span xml:lang="en" lang="en"> century. Their analysis of capitalist societies opened up the field for a new range of approaches bringing culture in dialogue with discourse analysis, spatiality and power relations. Thanks to these contributions culture finally started to be seen not as a fixed concept, but as a multiple, flexible and always in the making. </span></p>
      <p class="texte"><em><span xml:lang="en" lang="en">Culture and Visual Forms of Power. Experiencing Contemporary Spaces of Resistance</span></em><span xml:lang="en" lang="en">, edited by Lidia K. Manzo applies this approach to culture in the terrain of vision and visuality. The visual field has long been known, mainly because of its metaphoric potential, to be at the service of power. Faithful especially to Foucault’s legacy, this collection of essays departs from this ob...</span></p>]]></description> 
    <dc:creator>Gustavo Racy</dc:creator>
    <link>http://journals.openedition.org/anthrovision/1477</link>
    <dc:date>2015-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/1488">
    <title>The Importance of Ethnographic Film/Video/Multimedia in the Development and Assessment of Anthropological Understanding</title>
    <description><![CDATA[
      <p class="resume">This descriptive account of a project from 2002-2003 entitled ‘Visual technologies and their assessment in undergraduate teaching and learning’ originated as presentation to the IUAES conference at Manchester University, 5-10 Aug 2013, to the panel ‘Establishing academic standards of evaluation for non-literary forms of representation in anthropology’. It presents findings based on a range of practical experiences in teaching and research over the past thirty years. During that time, I have pondered questions such as whether or not we should define ethnographic film, and what the criteria for ethnographic as opposed to documentary and/or art film should be. This account draws on the website and other the results of funded research into the assessment of undergraduate video and multimedia projects to discuss these issues and to argue for the importance of including narrative video projects for undergraduate assessment as well as the now ubiquitous power-point presentations.</p>]]></description> 
    <dc:creator>Felicia Hughes-Freeland</dc:creator>
    <link>http://journals.openedition.org/anthrovision/1488</link>
    <dc:date>2015-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/1448">
    <title>Cinéma amérindien brésilien et utilisation du cyberspace. Pour qui?</title>
    <description><![CDATA[
      <p class="resume">Taking as a starting point the indigenous filmmaking experiences in Brazil, established during the last twenty years, is it possible to outline the dissemination of filmic images from the contemporary Native American perspective. How do these authors in Brazil manage to circulate their productions? To what extent do they appropriate the vehicles/means available on Internet for this purpose? Which are the constraints? Is it possible to talk about an indigenous leadership in this area?</p>]]></description> 
    <dc:creator>Paula Morgado</dc:creator>
    <link>http://journals.openedition.org/anthrovision/1448</link>
    <dc:date>2015-01-05</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/1006">
    <title>Bartscherer, Thomas and Coover, Roderick eds, Switching codes Thinking through digital technology in the humanities and the arts</title>
    <description><![CDATA[
      <p class="texte">The editors of this volume are Rod Coover, an internationally renowned visual anthropologist and digital artist based at Temple University, and Thomas Bartscherer, who is well-known for his research at Bard and CNRS into digital infrastructures to support the humanities. This collaboration has produced a fascinating series of experimental interdisciplinary conversations about many aspects of computerization, from factors involved in creating searchable online research databases through to digital art. The short introduction explains that the key themes -- authenticity, learning and creativity, the semantic web, and ontologies – will be addressed through dialogues between computer science and the humanities. </p>
      <p class="texte">This is an important and ambitiously Borgesian project, with an emphasis on emergence and transformation: ‘Time itself is the central paradox in this attempt to articulate the rhetoric of an electronic linguistic. Flux cannot be recorded; it can only be pointed to <em>in media res</em>.’ ...</p>]]></description> 
    <dc:creator>Felicia Hughes-Freeland</dc:creator>
    <link>http://journals.openedition.org/anthrovision/1006</link>
    <dc:date>2014-07-30</dc:date>
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