Cinema: A Visual Anthropology (Key Texts in the Anthropology of Visual and Material Culture)
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Cinema: A Visual Anthropology provides a clear and concise summary of the key ideas, debates, and texts of the most important approaches to the study of fiction film from around the world. The book examines ways to address film and film experience beyond the study of the audience. Cross-disciplinary in scope, Cinema uses ideas and approaches both from within and outside of anthropology to further students' knowledge of and interest in fiction film. Including selected, globally based case studies to highlight and exemplify important issues, the book also contains suggested Further Reading for each chapter, for students to expand their learning independently. Exploring fundamental methods and approaches to engage this most interesting and vibrant of media, Cinema will be essential reading for students of anthropology and film.
the late 1920s, cinema had become an established entertainment medium. Throughout much of the world, cinema was about to enter its “Golden Age.” The “Golden Era” of Fiction Film By the late 1920s and early 1930s, most of the key elements of cinema were in place. Many of the codes and conventions of cinema had been developed, familiar genres of film were established, the studio and star systems were in full force, and cinema was a global phenomenon. One element still missing was sound, although
the world. Aside from the USA and the UK, the films of India, Japan, Indonesia, and Nigeria will be used to exemplify the ideas, methods, and approaches discussed throughout the book. The historical limitation on non-Western films in much of American and European film studies (not just film studies the discipline) has had a further effect than simply a paucity of African or Indonesian films on film class syllabi. There has been a history of certain inequities in how Western and non-Western films
Chapter 2. One of the questions that had been, in one way or another, taken for granted in earlier approaches to cinema was what the audience “got” out of it. Why do people go to and, seemingly, enjoy the cinema? Formalist arguments appear to assume that audiences would not only appreciate, but also enjoy issues such as artful Figure 4.2 Cinema-goers at the entrance of the Elgin Talkies cinema in Bangalore, India. Photography by Paul Keller 2008. context of reception 111 112 cinema: a
Westport, CT: Greenwood Press. Dickey, S. (1993) Cinema and the Urban Poor in South India, Cambridge: Cambridge University Press. Nigeria Haynes, J. (ed.), (2000) Nigerian Video Films, Ohio Center for International Studies. Larkin, B. (2002) “The Materiality of Cinema Theaters in Northern Nigeria,” in F. Ginsburg, L. Abu-Lughod, and B. Larkin (eds) Media Worlds: Anthropology on New Terrain, Berkeley: University of California Press, pp. 319–36. Conclusion Figure C.1 Cineplex in Japan.
storytelling in fiction film, began to be developed during the early days of cinema. As the example from what is now Malaysia suggests, this new film “grammar” became very quickly and very successfully dissemin ated around the world. The person most credited with developing the mechanics of cinema as we know it today is D. W. Griffith – or perhaps more accurately the history of cinema 7 8 cinema: a visual anthropology Figure 1.3 George Siegmann and Lillian Gish in a scene from The