Podcasts about ethnographic film

Julia welcomes Kim and Laura to her new coven with a conversation about witches and anthropology.   Some cool links for further inquiry: What Type of Witch Are You? https://www.buzzfeed.com/sydrobinson1/what-type-of-witch-are-you Zora Neale Hurston, Mules and Men: https://www.google.com/books/edition/Mules_and_Men/tz62QRx_gE0C?hl=en&gbpv=0 - Ronald Hutton, The Witch: A History of Fear, from Ancient Times to the Present: https://www.google.com/books/edition/The_Witch/RDYuDwAAQBAJ?hl=en&gbpv=0 Ernst Karel and Veronika Kusumaryati, “Expedition Content”: https://ek.klingt.org/expeditioncontent.html E. E. Evans-Pritchard, Witchcraft, Oracles, and Magic among the Azande: https://www.google.com/books/edition/Witchcraft_Oracles_and_Magic_Among_the_A/z7dFEAAAQBAJ?hl=en&gbpv=0 Chick Strand, “Notes on Ethnographic Film by a Film Artist”: https://cinefiles.bampfa.berkeley.edu/catalog/6643

In this essay-styled episode, we delve into the history of ethnographic film by looking closely at six iconic films, taking into account their theoretical and stylistic approaches.Written and produced by Daniel Chiu Castillo, special guest voice and editing by Marianne Lezeau.

Technecast is hosting the Invitations Series: four conversations by Judah Attille, Therese Henningsen, Mark Aerial Waller and Astrid Korporaal. Each episode is based on a research encounter with a creative practitioner connected to the field of sound & moving image. Together, the episodes question the relationships between audience, screen, maker & subject. This final episode features Therese Henningsen and Juliette Joffé, reflecting on the ongoing curatorial project Strangers Within and the notion of 'documentary as encounter' in their own films Next Year We Will Leave (2021) and Slow Delay (2018). The two films will be publicly shown for the Strangers Within anthology launch and film programme at Whitechapel Gallery in June 2022 in collaboration with Prototype. Contributors to the Strangers Within anthology and film programme are: Khalik Allah, Ruth Beckermann, Jon Bang Carlsen, Adam Christensen, Annie Ernaux, Gareth Evans, Xiaolu Guo, Therese Henningsen, Marc Isaacs, Juliette Joffé, David MacDougall, Laura Rascaroli, Bruno de Wachter, Yuya Yokota, Andrea Luka Zimmerman Strangers Within addresses convergences between encounter, hospitality and autobiography in documentary filmmaking. It engages with the risks of encounter, unsettling assumed distinctions between host and guest; stranger and friend; self and other; documentarian and protagonist. By challenging commonly held assumptions around the division between director and subject in the documentary encounter, it unsettles the filmmaker's presumed control over those she films. By staying with the difficulty of such encounters the camera can keep us open to risks that may otherwise be avoided or ignored: seeing oneself in strangers or becoming a stranger to oneself. Links for reading: Towards A Transpersonal I by Annie Ernaux [https://www.annie-ernaux.org/texts/vers-un-je-transpersonnel-2/] Suite for Barbara Loden by Nathalie Léger [http://dorothyproject.com/book/suite-for-barbara-loden/] , excerpt here [https://www.theparisreview.org/letters-essays/6820/barbara-wanda-nathalie-leger] Doing Psychoanalysis in Tehran by Gohar Homayounpour [https://mitpress.mit.edu/books/doing-psychoanalysis-tehran] * Therese Henningsen is a filmmaker and programmer based in London. Her filmmaking often takes shape through the encounter with the person(s) filmed and the direction this may take. Her films have been shown at Whitechapel Gallery, Chisenhale Gallery, Whitstable Biennale, Close-Up Cinema, SMK Statens Museum for Kunst, among others. She is a member of the two film collectives Sharna Pax and Terrassen, both engaging with the social life of film. She collaborates on ongoing film and research projects with artists and filmmakers Andrea Luka Zimmerman, Sidsel Meineche Hansen and Juliette Joffé. Therese came to filmmaking through anthropology and holds an MA in Visual Anthropology from Goldsmiths College. She is currently working on a practice-led PhD in Media Arts at Royal Holloway University, and teaches on the MA Documentary and Ethnographic Film at UCL. * Juliette Joffé is a filmmaker based in Brussels. Her films have been shown in festivals such as Visions Du Réel Nyon , FIDMarseille, Open City Documentary Film Festival, Astra Film Festival among others. Her first film Maybe Darkness was awarded a Wildcard For Best Documentary by The Flemish Film Board allowing her to direct The Hero With A Thousand Faces which won Best Short Film Film at Mostra Internazionale Di Cinema Di Genova. She has recently finished the mid-length essay film Next year, we will leave. She runs the documentary course in Brussels- based art school Preparts. As part of her programming practice, she was invited to introduce the work of Belgian filmmaker Olivier Smolders at Open City Documentary Film Festival 2017. * Image Credit: Still from Slow Delay, Therese Henningsen (2018)

In this special event, Dr. Johannes Sjöberg will be premiering his new ethno science fiction film ‘Call Me Back' (2020), followed by a talk on exploring uncertain environmental futures through creative and collaborative practice. We will explore how projective improvisation in ethnographic film could contribute to the way we relate to scientific predictions of the future. Read the talk insights here - https://www.urgentemergent.org/talking-uncertainty/ethno-science-fiction --- Send in a voice message: https://anchor.fm/talkinguncertainty/message

This episode looks at a boundary that exists tangibly, that's physical. It's one that an ethnographer (or any person, really) holds in their hands and peers through. Today we're talking about the camera. What about cameras or, more specifically lenses, creates a boundary between a filmmaker and their subject? What about the camera can break other boundaries down. In today's episode, host Alejandra Melian talks to Olivia du Vergier and Malcolm Sanger about ethnographic film, art film, and all the boundaries that exist between the two.

Emily Cohen Ibañez is a Colombian-American filmmaker who tells stories about the complex relationship between the United States and Latin America. The National Science Foundation, Fulbright Colombia, and the Wenner-Gren Foundation amongst others have supported her research, writing, and films. Her documentary "Bodies at War/MINA" (2015) premiered at El Festival de Cine de Bogotá where it was nominated for a UNICEF award. She was a cinematographer for "Bronx Obama" (2014) directed by Ryan Murdock, which won Best of Fest at AFI Docs. Her short film "Iraq Veterans Against the War Perform Operation First Casualty" (2007) premiered at the Santa Fe Independent Film Festival. She earned her doctorate in Anthropology (2011) at New York University and was a Wenner-Gren Fellow in Ethnographic Film at UC Santa Cruz from 2016-2017, working on her film, "Virtual War," currently in post-production. She was a two-time finalist for the Sundance New Frontier Lab with "Virtual War." She is a Mentor for the Latino Film Institute Youth Cinema Project and a member of the Brown Girls Doc Mafia. Ashley Solis is the main subject and a co-writer of "Fruits of Labor." A short version of the feature film was featured in The Guardian. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanfilmmaker/support

Arabic script is astounding!  Not only because it represents one of the most commonly spoken languages today –that is, the Arabic language– but because it has represented dozens of other languages over the course of human history from the Middle East to Asia, to Europe, and to the tip of South Africa. Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design (Harvard University Press, 2017) is a recent example of the scholarship on the aesthetics of Arabic script and what it communicates. Author J.R. Osborn writes, not quite a standard history, not quite a work of communication studies, not quite a linguistic study, but a combination of all three that tells the story of Arabic script over ten centuries: from the formation of the calligraphic tradition to the rise of Unicode. J.R. Osborn is an Assistant Professor at Georgetown University in the Communication, Culture, and Technology Program.  His work explores media history, design, semiotics, communication technologies, and aesthetics with a regional focus of the Middle East and Africa.  J.R. is also a self-described ‘experimentalist of communication’ who works across media forms: from text to film to digital interface design and curatorial projects.  He holds Ph.D in Communication and a Certificate in Ethnographic Film from the University of California, San Diego.  Letters of Light is his first book. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Arabic script is astounding!  Not only because it represents one of the most commonly spoken languages today –that is, the Arabic language– but because it has represented dozens of other languages over the course of human history from the Middle East to Asia, to Europe, and to the tip of South Africa. Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design (Harvard University Press, 2017) is a recent example of the scholarship on the aesthetics of Arabic script and what it communicates. Author J.R. Osborn writes, not quite a standard history, not quite a work of communication studies, not quite a linguistic study, but a combination of all three that tells the story of Arabic script over ten centuries: from the formation of the calligraphic tradition to the rise of Unicode. J.R. Osborn is an Assistant Professor at Georgetown University in the Communication, Culture, and Technology Program.  His work explores media history, design, semiotics, communication technologies, and aesthetics with a regional focus of the Middle East and Africa.  J.R. is also a self-described ‘experimentalist of communication’ who works across media forms: from text to film to digital interface design and curatorial projects.  He holds Ph.D in Communication and a Certificate in Ethnographic Film from the University of California, San Diego.  Letters of Light is his first book. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Arabic script is astounding!  Not only because it represents one of the most commonly spoken languages today –that is, the Arabic language– but because it has represented dozens of other languages over the course of human history from the Middle East to Asia, to Europe, and to the tip of South Africa. Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design (Harvard University Press, 2017) is a recent example of the scholarship on the aesthetics of Arabic script and what it communicates. Author J.R. Osborn writes, not quite a standard history, not quite a work of communication studies, not quite a linguistic study, but a combination of all three that tells the story of Arabic script over ten centuries: from the formation of the calligraphic tradition to the rise of Unicode. J.R. Osborn is an Assistant Professor at Georgetown University in the Communication, Culture, and Technology Program.  His work explores media history, design, semiotics, communication technologies, and aesthetics with a regional focus of the Middle East and Africa.  J.R. is also a self-described ‘experimentalist of communication’ who works across media forms: from text to film to digital interface design and curatorial projects.  He holds Ph.D in Communication and a Certificate in Ethnographic Film from the University of California, San Diego.  Letters of Light is his first book. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Arabic script is astounding!  Not only because it represents one of the most commonly spoken languages today –that is, the Arabic language– but because it has represented dozens of other languages over the course of human history from the Middle East to Asia, to Europe, and to the tip of South Africa. Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design (Harvard University Press, 2017) is a recent example of the scholarship on the aesthetics of Arabic script and what it communicates. Author J.R. Osborn writes, not quite a standard history, not quite a work of communication studies, not quite a linguistic study, but a combination of all three that tells the story of Arabic script over ten centuries: from the formation of the calligraphic tradition to the rise of Unicode. J.R. Osborn is an Assistant Professor at Georgetown University in the Communication, Culture, and Technology Program.  His work explores media history, design, semiotics, communication technologies, and aesthetics with a regional focus of the Middle East and Africa.  J.R. is also a self-described ‘experimentalist of communication’ who works across media forms: from text to film to digital interface design and curatorial projects.  He holds Ph.D in Communication and a Certificate in Ethnographic Film from the University of California, San Diego.  Letters of Light is his first book. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Arabic script is astounding!  Not only because it represents one of the most commonly spoken languages today –that is, the Arabic language– but because it has represented dozens of other languages over the course of human history from the Middle East to Asia, to Europe, and to the tip of South Africa. Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design (Harvard University Press, 2017) is a recent example of the scholarship on the aesthetics of Arabic script and what it communicates. Author J.R. Osborn writes, not quite a standard history, not quite a work of communication studies, not quite a linguistic study, but a combination of all three that tells the story of Arabic script over ten centuries: from the formation of the calligraphic tradition to the rise of Unicode. J.R. Osborn is an Assistant Professor at Georgetown University in the Communication, Culture, and Technology Program.  His work explores media history, design, semiotics, communication technologies, and aesthetics with a regional focus of the Middle East and Africa.  J.R. is also a self-described ‘experimentalist of communication’ who works across media forms: from text to film to digital interface design and curatorial projects.  He holds Ph.D in Communication and a Certificate in Ethnographic Film from the University of California, San Diego.  Letters of Light is his first book. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Arabic script is astounding!  Not only because it represents one of the most commonly spoken languages today –that is, the Arabic language– but because it has represented dozens of other languages over the course of human history from the Middle East to Asia, to Europe, and to the tip of South Africa. Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design (Harvard University Press, 2017) is a recent example of the scholarship on the aesthetics of Arabic script and what it communicates. Author J.R. Osborn writes, not quite a standard history, not quite a work of communication studies, not quite a linguistic study, but a combination of all three that tells the story of Arabic script over ten centuries: from the formation of the calligraphic tradition to the rise of Unicode. J.R. Osborn is an Assistant Professor at Georgetown University in the Communication, Culture, and Technology Program.  His work explores media history, design, semiotics, communication technologies, and aesthetics with a regional focus of the Middle East and Africa.  J.R. is also a self-described ‘experimentalist of communication’ who works across media forms: from text to film to digital interface design and curatorial projects.  He holds Ph.D in Communication and a Certificate in Ethnographic Film from the University of California, San Diego.  Letters of Light is his first book. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices