Bali that participatory and reflexive authorial strategies are most developed. All but one of these five films concern Jero Tapakan, a traditional healer who seeks to help her clients through contacting the spirit world to establish whether their illnesses and misfortunes have a spiritual origin or are due to a failure to make appropriate ritual offerings. But she also diagnoses and treats more physical illnesses through massage therapy, and prescribes certain herbal remedies that she herself prepares.
In the first of the films about Jero
remote, David’s television literacy is mysteriously transposed and
tested in the world of Pleasantville itself. Together with his
street-wise and sexually assertive sister (Reese Witherspoon), David and
Jennifer are inexplicably confronted with, and literally drawn inside,
the monochrome world of sitcom ‘gee-whizzery’.
Colour is central to Pleasantville ’s
narrative strategy. Black and white is a visual
particular conception of ethnography. This is a second sense in which this book could be considered no more than a partial historical account. In fact, the whole book should be regarded not as a dispassionate chronicle but rather a sustained argument in favour of a very particular approach to ethnographic film-making.
Authorship, praxis, observation
In pursuit of this argument, the book is divided into four parts. In the first, in the course of seven chapters, I offer an overview of (predominantly) English-language ethnographic film
mid-1930s and staying on throughout the war after its rebranding as
Crown, and the denial of music is clearly part of a strategy for giving
a sense of documentary-like reality to the fictional material of
White Corridors .
There is a certain paradox here, in that actual
documentaries, like newsreels, normally slap on music liberally. To take
two submarine-centred features, released almost
crew, who had largely remained silent apart from interviews or voice-over, or in certain exceptional situations, as at the very beginning of
, when Paul Watson is shown explaining the ‘ground rules’ of the filming to the assembled Wilkins family.
By contrast, in accordance with the authorial strategies typically associated with Observational Cinema, Dineen often speaks in a conversational manner with her subjects from behind the camera that she herself is
Indeed, the latter part of Paul's review, much less frequently – if ever – cited, suggests precisely this for, in seeming direct contradiction to his earlier strictures on the role of film in anthropology, he then proceeds to praise in generous terms what he sees as the sustained ‘aesthetic and intellectual continuity’ of
, in particular its ‘constant, but unobtrusive, awareness of the physically close relationships and symbiotic interdependence of people and stock’. He comments with approval on the way in
, was released in 1968 and had a running time of 70 minutes, distilled from fifteen hours of rushes.
In effect, this represented the first sustained attempt to put into practice the principles of Observational Cinema that were being developed through the Ethnographic Film Program. There was no script and Hockings and McCarty made no attempt to direct the subjects by telling them what to do or say, nor did they ask them to repeat an action or a comment in order to do a
world in the 1950s and 1960s, and it is being replayed as a cinematic
event. The interrelationship of popular memory and cinematic
representations finds a telling case study in the civil rights era in
the American South. This chapter assesses what films made after the
civil rights era of the 1950s and 1960s express about the failure of the
Movement to sustain and be sustained in its challenges to
image. While avoiding what Giselle Bastin has described as
the ‘low-quality’ impersonations of the Princess in the many television
biopics of the 1980s and 1990s, 12 this strategy makes Diana history, in
both the literal and figurative sense, while paradoxically enlivening
the very traditional genre which it deploys to vindicate the Queen.
Throughout The Queen news broadcasts on television
(killing of officers by their own men) in Vietnam. Michael Klein
suggests that ‘the death toll from fragging by soldiers
disaffected with the war may be as high as 5 per cent of the total loss
of life in combat sustained by the US armed forces during the
war’. 37 There is also
the known instances of mutinies. Perhaps the most famous example is the
mutiny of marines at Da Nang in 1968. Finally, to counter