By Jean Rouch
The most influential figures in documentary and ethnographic filmmaking, Jean Rouch has made a couple of hundred motion pictures in West Africa and France. In such acclaimed works as Jaguar, The Lion Hunters, and Cocorico, Monsieur Poulet, Rouch has explored racism, colonialism, African modernity, spiritual ritual, and song. He pioneered a number of movie concepts and applied sciences, and within the method encouraged generations of filmmakers, from New Wave administrators, who emulated his cinema verite type, to today’s documentarians. Cine-Ethnography is a long-overdue English-language source that collects Rouch’s key writings, interviews, and different fabrics that distill his pondering on filmmaking, ethnography, and his personal occupation. Editor Steven Feld opens with a concise evaluate of Rouch’s occupation, highlighting the subjects stumbled on all through his paintings. within the 4 essays that keep on with, Rouch discusses the ethnographic movie as a style, the background of African cinema, his reports of filmmaking one of the Songhay,and the intertwined histories of French colonialism, anthropology, and cinema. And in 4 interviews, Rouch thoughtfully displays on every one of his motion pictures, in addition to his creative, highbrow, and political matters. Cine-Ethnography additionally includes an annotated transcript of Chronicle of a Summer–one of Rouch’s most crucial works–along with observation through the filmmakers, and concludes with a whole, annotated filmography and a bibliography. the main thorough source on Rouch on hand in any language, Cine-Ethnography makes transparent this striking and nonetheless important filmmaker’s significant function within the historical past of documentary cinema.
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Extra resources for Ciné-Ethnography
And if one finds similar features in the diversity of recent films, such as the multiplication of shot sequences (I have asked a manufacturer of lightweight cameras to make a one-thousand-foot magazine so that shooting can go for half an hour), it is because our experiences have THE CAMERA AND MAN 45 led us to similar conclusions and thus have given birth to a new cinema language. And tomorrow? . Tomorrow will be the time of completely portable color video, video editing, and instant replay (“instant feedback”).
American Anthropologist 80 (4): 1020–22. EDITOR’S INTRODUCTION 23 Eaton, Mick, ed. 1979. Anthropology-RealityCinema: The Films of Jean Rouch. London: British Film Institute. Fieschi, Jean-André. 1979. ” In Anthropology-Reality-Cinema: The Films of Jean Rouch, ed. Mick Eaton. London: British Film Institute. Gabriel, Teshome. 1982. Third Cinema in the Third World: The Aesthetics of Liberation. Ann Arbor: University of Michigan Research Press. Godard, Jean-Luc. 1972. ” In Godard on Godard, ed. Jean Narboni and Tom Milne.
1980. ” Semiotica 30 (12): 153–79. ———. 2000. Picturing Culture: Explorations in Film and Anthropology. Chicago: University of Chicago Press. ———, ed. 1982. A Crack in the Mirror. Philadelphia: University of Pennsylvania Press. ———, ed. 1989. ” Visual Anthropology 2 (3–4). Russell, Catherine. 1999. Experimental Ethnography: The Work of Film in the Age of Video. Durham: Duke University Press. Sadoul, Georges. 1961. ” Les lettres Françaises 873 (April): 5. ———. 1971. Dziga Vertov: Préface de Jean Rouch.