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Vision: Essays in Film Studies, Visual Anthropology and Photography.

These examples help to show some of the basic strengths of this format which attempts to play out the synergy of the distinct forms of expression that are combined: images, words, layout and design, adding up to a scientifically informed statement. What is today routinely considered visual social research ranges from the study of existing visual data of a variety of sources to the production of visual data (most often photographs and film/video records) by the research team or by the field ('respondent generated production'), and to using visual materials in interview situations to trigger partly unanticipated responses (factual information and projective comments).

For similar reasons I chose here not to pursue another key direction for visual anthropology, what Anna Grimshaw (2005, writing specifically about film) has identified as the camera’s unique capacity to record the uncertainties and contingencies of the ethnographic encounter. The camera edits fieldwork encounters in ways that can escape the control of anyone involved in the production of the image, a fact that allows visual work to position the anthropologist more clearly in relation to the ethnographic frame than could be possible in even the most self-reflective text. Yet aesthetically the images I have assembled here owe more to the modernist documentary tradition of photographers such as Lewis Hine, Margaret Bourke-White or Smith – photographers whose subject-position in their images of the work-world are hardly neutral or obscured, but photographers who do not make positionality itself the subject of the image. Elsewhere I have critiqued that mode of documentary realism (Hoffman 2007b). So have many others both inside and outside visual anthropology. But here I am less concerned with the photo-essay’s capacity for reflexivity than with its capacity for disruption – a modernist impulse inherent in the medium. Many of these images are shot from behind or above. They represent a privileged gaze, to be sure, but they are not images about the gaze per se.

Anthropology essay field film in photography study vision visual Once you post your job. Dorothy F

Anthropology essay field film in photography study vision visual; ..

Fields of Vision: Essays in Film Studies, Visual Anthropology and Photography. Berkeley: University of California Press, 1995 pp. 256- 291. Also reprinted in Kelly Askew and Richard Wilk, editors,

Hoffman’s idea of a photo-essay as a collection of figure studies is particularly provocative for anthropology. If figure study is “a representation made for study purposes with a live model as the subject matter,” then is it not another mode of ethnography based on participant-observation. I’d like to return here to the issue of what animates a project as a visual ethnography. How is putting the photo-essay to use as a mode of ethnography different than illustrating fieldwork or anthropological findings? How might anthropological knowledge animate a photographic project whether the camera is in the hands of an anthropologist or not? Most importantly for our purposes here, what kind of scholarly engagement can a photo-essay animate in an audience of anthropologists?

Fields of vision : essays in film ..

Fields of Vision: Essays in Film Studies, Visual Anthropology and Photography. Berkeley: University of California Press, 1995 pp. 256- 291. Also reprinted in Kelly Askew and Richard Wilk, editors,

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