Vous êtes sur la page 1sur 24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

S E ARCH
(http://www.facebook.com/psychoculturalcinema)
(http://www.twitter.com/PsyCultCinema)
(https://vimeo.com/channels/626224)
(http://www.youtube.com/elementaldocumentary)
MIS S ION( H T T P : / / P S Y CH OCU LT U RALCI N E M A.COM / M I S S I ON / )
AU THORS ( H T T P : / / P S Y CH OCU LT U RALCI N E M A.COM / AU T H ORS / )
CONTACT( H T T P : / / P S Y CH OCU LT U RALCI N E M A.COM / CON T ACT / )

(http://psychoculturalcinema.com/)

THE INTERSECTION OF PSYCHOLOGICAL ANTHROPOLOGY WITH


ETHNOGRAPHIC FILM

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

1/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

BY ROBE RT LE ME LS ON( H T T P : / / P S Y CH OCU LT U RALCI N E M A.COM / AU T H OR/ LE M E LS ON / )

ANTHROP OLOGY ( H T T P : / / P S Y CH OCU LT U RALCI N E M A.COM / CAT E G ORY / AN T H ROP OLOG Y / )

NOVE MBE R 1 5 , 2 0 1 3

WHY I MAKE
ETHNOGRAPHIC FILMS
(INSTEAD OF WRITING A
MONOGRAPH)

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

2/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

3/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

rwell was once asked by his editor to address the question why I write. Orwell, in his typically clear and direct manner,
listed a range of reasons, from personal ones such as sheer egotism and aesthetic enthusiasm, to much broader ones of
historical impulse and political purpose. In thinking about the inaugural post for this blog I asked myself a related

question: why do I make ethnographic films? I will follow one of Orwells leads as to why he writes (and by extension
why I make films)the sense of enjoyment , aesthetic or otherwise, one derives from creating films.

(http://psychoculturalcinema.com/wpcontent/uploads/2013/11/orwell.jpg)

Geo rg e Orwel l
Starting with the mundane and personal, one of the reasons I make films is because it is social and fun. As anyone who has ever
slogged through the muddled and tortuous intellectual process of writing a dissertation knows, anthropological researchbut
more specifically writingis a lonely (or perhaps, less loaded, solitary) endeavor. One almost always writes alone, by oneself,
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

4/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

with only intermittent interactions with others. Feedback is frequently limited, and at times difficult to get (as anyone who has
ever pestered a reluctant committee member can attest to). If one is lucky, one may have the intermittent (and expensive) help of
an editor, but this is usually for quite specific purposes, and in todays digital world, there is often no actual physical contact with
ones editor.
Ethnographic film is frequently (and for those who are successful, almost always) a collaborative, group endeavor. One works
throughout the process with cameramen, editors, musicians, producers, other production assistants, not to mention the
collaboration and interaction with the subjects of ones filming, who increasingly may take a role in the production itself. While
lonely nights in the editing bay are commonplace, and there are many instances where one has to slog away at transcription and
translation of the video material, when compared with the solitary task of the typical ethnographer, ethnographic film is a much,
much more interactive and collaborative enterprise, start to finish.

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

5/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

(http://psychoculturalcinema.com/wpcontent/uploads/2013/11/20120902MM2_9565.jpg)

S h o o ti n g an i n tervi ew i n In d o n esi a, S ep temb er 2 0 1 2 .


http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

6/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

Along with being a much more social activity than typical anthropological fieldwork (and analysis and writeup), ethnographic film
can be a very creative and aesthetic enterprise. In film one is often working with more of ones senses. For example, while we
always engage our visual sense throughout our fieldwork, filming something in ones fieldworks causes one to focus ones
attention and interests in new, different, and at times unexpected ways. Shooting itself (or if working with a cameraperson,
collaborating on shooting), is inherently visual, and involves the sense of sight in multiple waysfrom composing individual
shots, to planning on a sequence of activities to shoot, to understanding (and manipulating) light and the myriad ways light
transforms, can obscure what one sees, to finding beauty by forcing one to focus on what is (in another of Orwells phrases) in
front of ones nose.
I think this scene from the film American Beauty(http://en.wikipedia.org/wiki/American_Beauty_(film)) illustrates this point well.

And this is just in the production stage. Throughout the post production/editing stage one is continually thinking with ones
eyes, and in the complex puzzle that is an edit, one is thinking cinematically, in that films should, first and foremost, attempt to
tell their stories visually (not always an easy task with the subject matter we work with e.g. psychological anthropologybut that
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

7/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

is the subject of another blog.)


The other sense that is being extended, expanded, and reworked at times is hearing. An ethnographic film can be won or lost on
the basis of how good the sound recording is. But it is not merely the technical aspects of getting usable and good recordings
that is expanded during shooting and editing, it is what one is listening and attending to (or not):
the clanging of a mental hospitals lock wards doors (from Memory of My Face(http://elementalproductions.org/portfolioitem/memoryof
myface/))

00:22

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

8/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

the sobbing of a boy who feels he has lost everything (from 40 Years of Silence(http://elementalproductions.org/portfolioitem/40yearsof
silenceanindonesiantragedy/))

00:40

the everpresent smiles and accompanying laughter that covers deep shame and pain (from The Bird
Dancer(http://elementalproductions.org/portfolioitem/thebirddancer/))

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

9/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

02:14

All of these and more come immediately to mind when I think of some of the discrete soundscapes in some of our films. While
these would be available and observable in normal fieldwork, the immediacy of the gestalt and context they occurred in would be
hard to recapture without the scene itself being recorded on film.
In the film Memory of My Face(http://elementalproductions.org/portfolioitem/memoryofmyface/), there is an extended section focused
around the extremely voluble, funny, clever (but indisputably manic) verbal outpouring of the main character, Bambang. The
footage was shot in a locked ward of a psychiatric hospital in Central Java. While most of the dialogue is (somewhat) intelligible
in the film itself, at the time of the conversation/interview I had almost no concept whatsoever of what he was talking about.

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

10/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

01:52

Untangling and interpreting the halfhour conversation, to produce the short (five minute) scene in the film, took months of
interpretation, consultation, exegesis, and analysis. Other aspects of meaning would have been lost if we had not recorded it (and
recorded it visually). In addition, some of the analysis only made sense if we included, understood, and interpreted the gestures,
gesticulations, postures, and multiple interpersonal contexts in which this conversation (and performance) took place.
Music is also another way in which ethnographic film can differ from traditional fieldwork. While most of us find enjoyment, and
release, in music throughout our fieldwork, in ethnographic film music can play many roles. Obviously if one is shooting many
dramatic, ritual or artistic productions, music plays integral roles. In addition, one must pay attention to music even if it is not the
sole, or even main, thing that one is filming in elements such as many performances.[1] (#_ftn1)
Music plays a very important role if you decide to use a score, or a soundtrack, in ones films. Most of our films use a soundtrack
(how one does this is again the subject of another blog) but, for me personally, working with music and soundtracks is one of the
most pleasurable aspects of filmmaking. I have been brought to tears on more than one occasion by music we have composed for
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

11/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

our films, and the judicious and appropriate use of a score can support, highlight and strengthen the points one is attempting to
make in ones films.
One of my favorite scenes, greatly enhanced by the musical score, is from Shadows and

Illuminations(http://elementalproductions.org/portfolioitem/shadowsandilluminations/), where Mr. Kereta and Made Ada, his wife, are
reflecting back on his illness and their marital relationships.

01:49

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

12/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

So whether it is the multiple contexts in which your filming takes place, or it is the specific human, subjective and experiential
aspects of the stories themselves, your sense of hearing will be utilized, expanded and sometimes tested in filmmaking in ways
that normal fieldwork engages in a much more fragmentary, disjointed, and discontinuous manner.
Moving outwards from the sensory expansion that shooting and editing brings, there are other levels of aesthetic and conceptual
complexity that makes filmmaking inherently enjoyable. In some ways these parallel the analysis, writeup, and crafting of a piece
of writing, but there are some fundamental differences that distinguish and separate ethnographic filmmaking. One is in the
overall scope of the enterprise. In ethnographic writing one attempts (within the bounds of word or page limits and the audience
or venue one is writing for) to write comprehensively, and in great (or at least sufficient) detail. Thick description, or in
psychological anthropology experience near description are the operative terms. Writing is expansive and strives for
completeness and holism. Filmmaking is in some ways almost the opposite, engaging of a variation of classic Freudian concept
Condensation(http://www.cla.purdue.edu/english/theory/psychoanalysis/definitions/condensation.html)where one tries to pack as many
multi layered meanings, imagery, symbolism, frameworks, in a scene as possible. One of the joys of being a scholar is to craft
meaning and understanding from material where this is not immediately apparent. In filmmaking, you have to do this within a

(#)

much more restricted space and time than in writing, and being able to layer and pack these meanings in a visual sense, is really
one of its pleasures as a scholar. It is also akin to creating a puzzle, and only those who have eyes to see, who are
knowledgeable or experts in the subject matter you are dealing with, will understand the meaning you are creating.

MORE STORI

A simple example of this occurs towards the end of the opening credits in 40 Years of Silence. At 355 there is a shot of hands
working on some complex task involving flowers and bamboo. The shot cuts to the making of (for those who have a basic

understanding of Balinese culture) a sesajen, or offering. The next jump cut is to the completed offering. Again, one would need
to have an even deeper understanding to recognize this as a banten, a funeral offering given for the deceased. But it is no

ordinary offering. Having the picture of the deceased person possibly places it into a category of an banten pengulapan, this type
being an offering given when there is no corpse, such as when someone is lost at sea. The final jump is the end of the nganyut ke
pasih ceremony, where the remains of the deceased are brought to the sea and cast in, completing the ngaben ceremony. This
highly constructed scene is a precursor to the film, as the body being memorialized in these shots were Degungs father, who was
killed in 1966 and his body was never returned to the family. A ceremony on the 40 th anniversary of his death in 2006 was
conducted to, finally, ritually mark his passing (and, in a cosmological sense, allow his soul to reincarnate into his family lineage).
This is an example of a scene laden with multiple layers of meaning, but whose meaning is only evident to Balinese (or those
knowledgeable about Balinese culture and ritual practice.)

(http://psychoculturalcinema.com

psychoculturalcinema/

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

TOWARD AN INTEG
OF PSYCHOLOGI
13/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

OF PSYCHOLOGI
MEDICAL AND VI

ANTHROPOLOG
(HTTP://PSYCHOCULTUR
PSYCHOCULTURALCI

There is an opportunity for ps


anthropology to break new groun
with new ways of knowing and re
to connect our
00:13

There are many such scenes in all the films we have done, and the meanings and understandings are only available to those who
know.
In future blogs I plan to expand out on the question of not only why I make films, but the larger question of the place that films
have, and will increasingly have, in Anthropology proper.

[1] (#_ftnref1) On the negative side, music can interfere in proper sound recording (and one has to request that music be turned
down or off when one is shooting certain scenes).

S HARE ON:

(http://psychoculturalcinema.com/the

FACE BOOK( H T T P : / / W
TW
WW
I T. FTAECRE(BHOTOT KP .SC:O/ /MTP/W
SI N
H
I TA
TTREEERRRE..CSP OT
HM
(P H/? ITNT TP E: N
/ /TY/OT UWG
REU
OERO
TL?GHLEER E+. C O M / / P I N T E R E S T . C O M / P I N / C R E A T E

anthropologyandmultimodalethnog

U = H T T P : / / P S Y C H O C UOLRTIUGRI ANLACLI_NREEM
FE
AR
. CEOR M
=U
/HW
RT LH
T=P
Y H: /T/TPPS:Y/ C/ PH SOYCCUHL O
T(C
UHURTLATTLPU
CSIR:NA/ E/L PM
C LIAU
N. S
C
EO
MN
M
AE
./ CW
.G
OHO
MYO
/W
G LHEY.C O M / _ / + 1 / C O N F I R M ?
IMAKE

IMAKE

IMAKE

ETHNOGRAP HIC

ETHNOGRAP HIC

ETHNOGRAP HIC

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

HL=E N

fromthescreeningscholarshipmedia
part2of2/)

U S &U RL=HTTP : //P S YCHOCU LTU RALCINE MA.COM/WH


14/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

FILMSINSTEADOF FILMSINSTEADOF FILMSINSTEADOF


WRITINGA

WRITINGA

WRITINGA

IMAKE
ETHNOGRAP HIC

THE STATE OF VI

ANTHROPOLOGY AND

M O N O G R A P H / & T = W H YM O N O G R A P H / & T E X T =MWOHNYO G R A P H / & M E D I A F=IHL T


MTSP :I /N/SPTSEYACDHOOCFU L T U R A L C I N E M A . C O M / W P
I MAKE

I MAKE

ETHNOGRAP HIC

ETHNOGRAP HIC

C O N T E N T / U P L O A D S / 2 0 1 3 /W1 R
1 /I D
T ISNC G_ 1
A
30
41
1 0 2 4 X 6 8 2 . J P G & D E S C R I P TMI OONN O=GWRHAYP H / )

FILMS (INSTEAD OF FILMS (INSTEAD OF


WRITING A
MONOGRAP H))
|

WRITING A

I MAKE
ETHNOGRAP HIC

MODAL ETHNOGRA
REPORT FROM T

SCREENING SCHOL
MEDIA FESTIVAL 201

M O N O G R A P H ) & T W _ PF =
I LT M
WSE E( IT NB SU TT ET AODN &OUF R L = H T T P : / / P S Y C H O C U L T U R A L C I N E M A . C O M / W H Y
IMAKE

WRITING A

ETHNOGRAP HIC

MONOGRAP H))

FILMSINSTEADOF

WRITINGA
MONOGRAP H/&VIA=P S YCHO
CULTURAL CINEMA)
|

2 OF 2)
(HTTP://PSYCHOCULTUR

STATEOFVISUA
ANTHROPOLOGYAND

MODALETHNOGRAPHYA

FROMTHESCREEN

SCHOLARSHIPMEDIAF

Robert Lemelson (http://psychoculturalcinema.com/author/lemelson/)


Robert Lemelson is an anthropologist and documentary filmmaker whose work focuses on the
relationship of culture, psychology and personal experience in Indonesia. He received his M.A. from the
University of Chicago and Ph.D. from the department of anthropology at the University of California, Los
Angeles. He was a Fulbright scholar in Indonesia, exploring the relation of culture to mental illness and
has worked for the World Health Organization. Lemelson's area of specialty is SoutheastAsian studies,
psychological anthropology and transcultural psychiatry. He is currently an adjunct professor of
anthropology at UCLA and a research anthropologist in the Semel Institute of Neuroscience at UCLA. He
is also the president of the Foundation for Psychocultural Research, who funds programs and initiatives
at the intersection of social and neuroscience.

2014PART2OF

(To read Part 1, click here). Wh


modal Ethnography Do? So, to
questions of the conference:
anthropologists tell

We b s it e (h t t p ://w w w . e le m e n t a lp ro d u ct io n s . o rg )

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

15/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

PREVIOUS ARTICLE

NOTE S FROM BURMA: BUDDHIS M AND


NAT WORS HIP IN A CHANGING
S OCIE TY ( H T T P : / / P S Y CH OCU L T U RA L CI N E M A .COM / N A T
FE S T I V A L / )

NEXT ARTICLE

BITTE R HONE Y CONUNDRUM:


GAINING INFORME D CONS E NT ( P ART 2
OF 2 )
( H T T P : / / P S Y CH OCU L T U RA L CI N E M A .COM / B I T T E R
H ON E Y CON U N D RU M G A I N I N G I N FORM E D
CON S E N T P A RT 2 OF 2/ )

YOU MAY ALSO LIKE

(http://psychoculturalcinema.com/20ethnographicanddocumentary

(http://psychoculturalcinema.com/natfestival/)

filmspsychologicalanthropologistsshouldbeteaching/)

NOVE MBE R 1 5 , 2 0 1 3

FE BRUARY 1 2 , 2 0 1 4

NOTES FROM BURMA: BUDDHISM

20 ETHNOGRAPHIC AND
DOCUMENTARY FILMS
PSYCHOLOGICAL
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

AND NAT WORSHIP IN A CHANGING


SOCIETY(HTTP://PSYCHOCULTURALCINEMA.COM/NAT
FESTIVAL/)
16/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

ANTHROPOLOGISTS SHOULD BE
TEACHING (HTTP://PSYCHOCULTURALCINEMA.COM/20
ETHNOGRAPHICANDDOCUMENTARY
FILMSPSYCHOLOGICAL
ANTHROPOLOGISTSSHOULDBE
TEACHING/)

BE FIRST TO COMMENT
Leave a Reply
Enteryourcommenthere...

S E ARCH

SUBSCRIBE TO BLOG
VIA EMAIL
Email Address

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

17/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

S U BS CRIBE

TAGS
88
generation(http://psychoculturalcinema.com/tag/88
generation/)

1965(http://psychoculturalcinema.com/tag/1965/)
1988
Uprising(http://psychoculturalcinema.com/tag/1988
uprising/)

Ant Bwe
Kyaw(http://psychoculturalcinema.com/tag/ant
bwekyaw/)

anthropology(http://psychoculturalcinema.com/tag/anthropology
2/)

Aung San Suu


Kyi(http://psychoculturalcinema.com/tag/aungsan
suukyi/)

Bali(http://psychoculturalcinema.com/tag/bali/)
burma(http://psychoculturalcinema.com/tag/burma/)
cameras(http://psychoculturalcinema.com/tag/cameras/)
culture(http://psychoculturalcinema.com/tag/culture/)
Democracy(http://psychoculturalcinema.com/tag/democracy/)

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

18/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

Democratic
Transitions(http://psychoculturalcinema.com/tag/democratic
transitions/)

Democratization(http://psychoculturalcinema.com/tag/democratization/)
editing(http://psychoculturalcinema.com/tag/editing/)
emotion(http://psychoculturalcinema.com/tag/emotion/)
ethics(http://psychoculturalcinema.com/tag/ethics
2/)

film(http://psychoculturalcinema.com/tag/film/)
filmmaking(http://psychoculturalcinema.com/tag/filmmaking
2/)

film
review(http://psychoculturalcinema.com/tag/film
review/)

Freedom(http://psychoculturalcinema.com/tag/freedom/)
India(http://psychoculturalcinema.com/tag/india/)
Indonesia(http://psychoculturalcinema.com/tag/indonesia/)
intervention(http://psychoculturalcinema.com/tag/intervention/)
Java(http://psychoculturalcinema.com/tag/java/)
jay ruby(http://psychoculturalcinema.com/tag/jay
ruby/)

margaret
mead(http://psychoculturalcinema.com/tag/margaret
mead/)

mental
illness(http://psychoculturalcinema.com/tag/mental
illness/)

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

19/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

Min Ko
Naing(http://psychoculturalcinema.com/tag/min
konaing/)

music(http://psychoculturalcinema.com/tag/music/)
Mya
Aye(http://psychoculturalcinema.com/tag/mya
aye/)

Myanmar(http://psychoculturalcinema.com/tag/myanmar/)
narcocultura(http://psychoculturalcinema.com/tag/narcocultura/)
nelson
mandela(http://psychoculturalcinema.com/tag/nelson
mandela/)

photography(http://psychoculturalcinema.com/tag/photography/)
polygamy(http://psychoculturalcinema.com/tag/polygamy/)
Pyone
Cho(http://psychoculturalcinema.com/tag/pyone
cho/)

reflexivity(http://psychoculturalcinema.com/tag/reflexivity
2/)

Saffron
Revolution(http://psychoculturalcinema.com/tag/saffron
revolution/)

schizophrenia(http://psychoculturalcinema.com/tag/schizophrenia/)
teaching(http://psychoculturalcinema.com/tag/teaching/)
tourism(http://psychoculturalcinema.com/tag/tourism/)
violence(http://psychoculturalcinema.com/tag/violence/)
voyeurism(http://psychoculturalcinema.com/tag/voyeurism/)
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

20/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

RECENT POSTS

1
2

The Eighth
Egg(http://psychoculturalcinema.com/the
eighthegg/)

(http://psychoculturalcinema.com/heroes
offreedomburmese/)

Heroes of Freedom: Burmas 88


Generation and the Legacy of
Mandela(http://psychoculturalcinema.com/heroes
offreedomburmas88generationandthe
legacyofmandela/)

The State of Visual Anthropology and


MultiModal Ethnography: A Report from
the Screening Scholarship Media Festival
2014 (Part 2 of 2)
(http://psychoculturalcinema.com/thestateof
visualanthropologyandmultimodal
ethnographyareportfromthescreening
scholarshipmediafestival2014part2of2/)

The State of Visual Anthropology and


MultiModal Ethnography: A Report from
the Screening Scholarship Media Festival
2014 (Part 1 of 2)
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

21/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

(http://psychoculturalcinema.com/thestateof
visualanthropologyandmultimodal
ethnographyareportfromthescreening
scholarshipmediafestival2014part1of2/)

ARCHIVES
July
2014(http://psychoculturalcinema.com/2014/07/)
May
2014(http://psychoculturalcinema.com/2014/05/)
April
2014(http://psychoculturalcinema.com/2014/04/)
March
2014(http://psychoculturalcinema.com/2014/03/)
February
2014(http://psychoculturalcinema.com/2014/02/)
January
2014(http://psychoculturalcinema.com/2014/01/)
December
2013(http://psychoculturalcinema.com/2013/12/)
November
2013(http://psychoculturalcinema.com/2013/11/)

AUTHORS
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

22/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

Alessandra
Pasquino(http://psychoculturalcinema.com/author/pasquino/)
Annie
Tucker(http://psychoculturalcinema.com/author/tucker/)
Arshinta(http://psychoculturalcinema.com/author/arshinta/)
Caitlin
Mullin(http://psychoculturalcinema.com/author/mullin/)
Cebe
Loomis(http://psychoculturalcinema.com/author/loomis/)
Chisako
Yokoyama(http://psychoculturalcinema.com/author/yokoyama/)
Gde
Putra(http://psychoculturalcinema.com/author/bagus/)
Jay
Ruby(http://psychoculturalcinema.com/author/ruby/)
Neely
Myers(http://psychoculturalcinema.com/author/myers/)
Robert
Lemelson(http://psychoculturalcinema.com/author/lemelson/)
Seinenu
Thein(http://psychoculturalcinema.com/author/thein/)
Sri
Pratiwi(http://psychoculturalcinema.com/author/sripratiwi/)
Vikram
Zutshi(http://psychoculturalcinema.com/author/zutshi/)
http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

23/24

11/13/2014

Why I make ethnographic films (instead of writing a monograph) | Psycho Cultural Cinema

Wing
Ko(http://psychoculturalcinema.com/author/ko/)

ELEMENTAL
PRODUCTIONS
W E ARE AN E THNOGRAP HIC
DOCU ME NTARY FILM P RODU CTION
COMP ANY BAS E D IN LOS ANGE LE S ,
CA

(http://www.twitter.com/elementalprod)
(http://www.facebook.com/elementalproductions)
(http://vimeo.com/channels/elementalproductions)
(http://youtube.com/elementaldocumentary)

2 0 1 3 P S Y CHOCU LTU RALCINE MA. COM. ALL RIGHTS RE S E RVE D.


BACK TO TOP

(#)

http://psychoculturalcinema.com/why-i-make-ethnographic-films-instead-of-writing-a-monograph/

24/24