
Anna GrimshawEmory University | EU · Department of Anthropology
Anna Grimshaw
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Publications (34)
en Anthropological work that focuses on individual lives, what Zeitlyn calls a ‘sample of one’ (Zeitlyn, 2008, Social Anthropology, 16, 154), has long hovered on the edge of disciplinary respectability. At best it is viewed as a fieldwork methodology, a way of collecting data; at worst, a kind of popularisation. This essay is a response to an emerg...
The ethnographic turn has been the focus of recent debate between artists and anthropologists. Crucial to it has been an expansive notion of the ethnographic. No longer considered a specialised technique, the essays of Clifford and others have proposed a broader and more eclectic interpretation of ethnography – an approach long considered to be the...
Drawing has emerged as a recent focus of anthropological attention. Writers such as Ingold and Taussig have argued for its significance as a special kind of knowledge practice, linking it to a broader re-imagining of the anthropological project itself. Underpinning their approach is an opposition between the pencil and the camera, between ‘making’...
In 1898, Alfred Cort Haddon proclaimed the indispensability of the cinematograph to serious anthropological work. Just three years after the Lumière brothers had proudly shown off their invention to delighted audiences in Paris and London, Haddon and his team of scientists included a cinematograph in the fieldwork equipment they carried with them t...
Since its release in 1922 Nanook of the North has remained at the heart of debates in documentary and ethnographic cinema. Long considered a foundational work, Flaherty's film has been hailed and disparaged in equal measure. After an absence of several years, I returned to a viewing of Nanook and found myself surprised by what I saw. Drawing on the...
This article explores what might be called the “aesthetic” turn in ethnographic filmmaking. It seeks to move beyond the old debates about the legitimacy of nonliterary forms to offer a detailed examination of how selected camera, sound, and editing techniques are used to constitute a distinctive kind of anthropological inquiry. No longer approached...
‘Observational cinema’ has long been central to debates in visual anthropology. Although initially hailed as a radical breakthrough in ethnographic filmmaking, the genre was subsequently criticized as naïvely empiricist and lacking in reflexive sophistication. In this article, we make a new case for observational cinema. It grows out of a renewed a...
Herb Di Gioia is a key figure in the tradition of observational cinema. The films that he made with David Hancock in the early 1970s laid the foundations for a different kind of observational documentary than one identified with the more well-known work of David and Judith MacDougall. Following Hancock’s untimely death, Di Gioia channeled most of h...
Women Living Zen: Japanese Soto Buddhist Nuns. Paula Kane Robinson Arai. Oxford: Oxford University Press, 1999. ix. 233 pp., photographs, tables, appendixes, bibliography, endnotes, index.
Herb Di Gioia and David Hancock are key figures in the tradition of observational cinema. Their work, however, is barely known. Between 1971 and 1975 they completed a series of film that charts an observational cinema in the making. This essay is concerned to trace the process by which Di Gioia and Hancock forged a distinctive documentary path that...
Questions of vision and knowledge are central to debates about the world in which we live. Developing new analytical approaches toward ways of seeing is a key challenge facing those working across a wide range of disciplines. How can visuality be understood on its own terms rather than by means of established textual frameworks? Visualizing Anthrop...
Questions of vision and knowledge are central to debates about the world in which we live. Developing new analytical approaches toward ways of seeing is a key challenge facing those working across a wide range of disciplines. How can visuality be understood on its own terms rather than by means of established textual frameworks? Visualizing Anthrop...
As a member of staff at the Granada Centre for Visual Anthropology, I have seen it emerge over the last decade as a critical site for anthropological film-making. The primary focus of the Centre's operations is its Masters course that offers training in documentary film-making techniques to anthropology graduates. There is, however, considerable co...
When I joined the Granada Centre in 1991 I was concerned to explore the field of visual anthropology by means of an intellectually coherent approach that encompassed research, teaching and filmmaking practices. At the centre of this approach was an interest in the relationship between vision and knowledge in ethnographic enquiry. My recent book, 'T...
Histoire de l'anthropologie de l'Ecole Britannique et de sa crise, et analyse de la naissance de nouveaux mouvements en fonction du contexte politique et social : Rivers et Malinowski, l'anthropologie et le colonialisme pour la periode 1890-1945, la crise contemporaine de l'anthropologie et la mort lente de l'ethnographie scientifique (Goody, Leach...
C. L. R. James, decede en 1989, d'obedience marxiste et adaptant les idees de Marx et d'Hegel a son temps, considerait que l'homme devait tout faire pour parvenir a la joie (son livre « The struggle of life » le montre) comme il devait obtenir la liberte et l'egalite selon ses « maitres ».