In the mountainous interior of the Himalaya, a highland peasant transforms into a redeemer by cutting holes (chidra) in the social fabric to be delivered to the gods through his body as sacrificial victim. Closely observing this unique ritual-spectacle, CHIDRA. examines how men, gods, and mediums handle the dangerous substance of actions (karma) at the frontier of the Hindu cultural sphere.CHIDRA (2018) is the product of a collaboration between documentary filmmaker Nadav Harel and Himalayan specialist Arik Moran. The movie follows a transmuted human sacrifice ritual that is unique to the Indo-Tibetan frontier valley of Kullu in Himachal Pradesh, India. By steadily focusing on the expiatory methods that are enacted during this ritual-spectacle, CHIDRA explores the psychological and social constructs surrounding the communal cleansing of sin at the frontier of the Hindu cultural zone. For a detailed analysis of the ritual, see Moran (2018), The Invisible Path of Karma in a Himalayan Purificatory Rite. On the charter myth and probable origins of the ritual specialists, see Moran (2021), When the Nars descended from Heaven.
在喜马拉雅内陆山区，一个高地农民通过在社会结构上凿洞（chidra）来变身为救赎者，并通过他作为牺牲品的身体将其交付给神灵。CHIDRA》（2018 年）是纪录片导演纳达夫-哈雷尔（Nadav Harel）和喜马拉雅专家阿里克-莫兰（Arik Moran）合作的产物。影片讲述了印度喜马偕尔邦库尔勒印藏边境山谷独有的转生人祭仪式。通过持续关注这一仪式中的赎罪方法，《CHIDRA》探索了围绕印度教文化区前沿的集体洗罪的心理和社会建构。有关该仪式的详细分析，请参阅莫兰（2018 年），《喜马拉雅净化仪式中无形的因果报应之路》（The Invisible Path of Karma in a Himalayan Purificatory Rite）。关于仪式专家的宪章神话和可能的起源，见莫兰（2021 年），《当纳尔斯人从天而降》。
{"title":"Chidra","authors":"A. Moran, Nadav Harel","doi":"10.15845/jaf.v7i02.3762","DOIUrl":"https://doi.org/10.15845/jaf.v7i02.3762","url":null,"abstract":"In the mountainous interior of the Himalaya, a highland peasant transforms into a redeemer by cutting holes (chidra) in the social fabric to be delivered to the gods through his body as sacrificial victim. Closely observing this unique ritual-spectacle, CHIDRA. examines how men, gods, and mediums handle the dangerous substance of actions (karma) at the frontier of the Hindu cultural sphere.CHIDRA (2018) is the product of a collaboration between documentary filmmaker Nadav Harel and Himalayan specialist Arik Moran. The movie follows a transmuted human sacrifice ritual that is unique to the Indo-Tibetan frontier valley of Kullu in Himachal Pradesh, India. By steadily focusing on the expiatory methods that are enacted during this ritual-spectacle, CHIDRA explores the psychological and social constructs surrounding the communal cleansing of sin at the frontier of the Hindu cultural zone. For a detailed analysis of the ritual, see Moran (2018), The Invisible Path of Karma in a Himalayan Purificatory Rite. On the charter myth and probable origins of the ritual specialists, see Moran (2021), When the Nars descended from Heaven.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"8 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139245761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Klamath River of Oregon and California is one of the most important salmon runs in the United States. While diminished over the past 100 years, it still supports an abundance of life and diverse economies struggling over its future course. This is a film about the Indian tribes of the river ecosystem – what the Klamath means to them and how they draw on traditional and modern resources to restore its strength, beauty and balance. The film focuses on the Klamath River and the Indian tribes of the lower basin - the Yurok, Hoopa, and Karuk. Yet this story has implications for any number of river ecosystems and indigenous peoples around the world. Through the Indian tribes of the Lower Klamath, the film reminds us how the health of a people and the health of its lands are integrally linked.
{"title":"Fish On!","authors":"Liivo Niglas, Diane Perlov, Frode Storaas","doi":"10.15845/jaf.v7i02.3856","DOIUrl":"https://doi.org/10.15845/jaf.v7i02.3856","url":null,"abstract":"The Klamath River of Oregon and California is one of the most important salmon runs in the United States. While diminished over the past 100 years, it still supports an abundance of life and diverse economies struggling over its future course. This is a film about the Indian tribes of the river ecosystem – what the Klamath means to them and how they draw on traditional and modern resources to restore its strength, beauty and balance. The film focuses on the Klamath River and the Indian tribes of the lower basin - the Yurok, Hoopa, and Karuk. Yet this story has implications for any number of river ecosystems and indigenous peoples around the world. Through the Indian tribes of the Lower Klamath, the film reminds us how the health of a people and the health of its lands are integrally linked.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"346 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139246375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The film presents a unique conversation between anthropologist Edvard Hviding and his long-term friend Vincent Vaguni, a community leader and sometime environmental activist from the remote village of Tamaneke in northern New Georgia, Solomon Islands. The film begins with a conversation at Vincent's home followed by a travel to the rainforest, where Vincent shows his knowledge regarding the use of plants and trees. The conversation gives insight into Vincent's "local" perspective on the issues of an outside world through descriptions of his career of cooperation and conflict with foreign actors (including Asian logging companies, Australian mining companies, and international environmental organizations such as the World Wide Fund for Nature). It also gives insight into the vast knowledge of the rainforest held by individuals like Vincent.
{"title":"Vincent and the Rainforest","authors":"R. Scott, E. Hviding","doi":"10.15845/jaf.v7i02.4017","DOIUrl":"https://doi.org/10.15845/jaf.v7i02.4017","url":null,"abstract":"The film presents a unique conversation between anthropologist Edvard Hviding and his long-term friend Vincent Vaguni, a community leader and sometime environmental activist from the remote village of Tamaneke in northern New Georgia, Solomon Islands. The film begins with a conversation at Vincent's home followed by a travel to the rainforest, where Vincent shows his knowledge regarding the use of plants and trees. The conversation gives insight into Vincent's \"local\" perspective on the issues of an outside world through descriptions of his career of cooperation and conflict with foreign actors (including Asian logging companies, Australian mining companies, and international environmental organizations such as the World Wide Fund for Nature). It also gives insight into the vast knowledge of the rainforest held by individuals like Vincent.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"199 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139246257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Curupira” was shot along the Javari Valley, the border region of Peru and Brazil. The story follows Arturo, a local riverine, as he paddles through the darkness in pursuit of the elusive Curupira — a mythological creature deeply ingrained in the region's folklore. Throughout the film, Arturo unveils Curupira's ambiguous nature and its crucial role in managing the relationship between humans and the fauna and flora. As the narrative progresses, we are offered a glimpse into Arturo's childhood, we learn about the transformation of the forest into maize plantations and aviaries, and the cunning exploitation of the Curupira myth by loggers and hunters to justify and legitimise extraction. This film is a compelling account of the intricate relationship between culture and ecology in the Amazon region, how environmental transformation is rendered intelligible, and provide fresh insights into how myths can be co-opted, not least (re)created into new syntheses. This work was supported by Fundação para a Ciência e Tecnologia (2021.03558.CEECIND/CP1696/CT0002).
"Curupira" 是在秘鲁和巴西交界的 Javari 谷拍摄的。故事讲述了当地河民阿图罗在黑暗中划船追逐难以捉摸的 Curupira--一种在当地民间传说中根深蒂固的神话生物。 在整部影片中，阿图罗揭开了 Curupira 的神秘面纱，以及它在处理人类与动植物之间关系时所扮演的重要角色。随着叙事的推进，我们看到了阿图罗的童年，了解到森林被改造成玉米种植园和鸟舍，以及伐木者和猎人狡猾地利用库鲁皮拉神话为开采提供理由并使之合法化。这部影片令人信服地讲述了亚马逊地区文化与生态之间错综复杂的关系，以及环境转变是如何被理解的，并对神话如何被共同利用，尤其是如何被（重新）创造成新的综合体提供了新的见解。这项工作得到了 Fundação para a Ciência e Tecnologia (2021.03558.CEECIND/CP1696/CT0002) 的支持。
{"title":"Curupira","authors":"Pedro Figueiredo Neto","doi":"10.15845/jaf.v7i02.3927","DOIUrl":"https://doi.org/10.15845/jaf.v7i02.3927","url":null,"abstract":"“Curupira” was shot along the Javari Valley, the border region of Peru and Brazil. The story follows Arturo, a local riverine, as he paddles through the darkness in pursuit of the elusive Curupira — a mythological creature deeply ingrained in the region's folklore. Throughout the film, Arturo unveils Curupira's ambiguous nature and its crucial role in managing the relationship between humans and the fauna and flora. As the narrative progresses, we are offered a glimpse into Arturo's childhood, we learn about the transformation of the forest into maize plantations and aviaries, and the cunning exploitation of the Curupira myth by loggers and hunters to justify and legitimise extraction. This film is a compelling account of the intricate relationship between culture and ecology in the Amazon region, how environmental transformation is rendered intelligible, and provide fresh insights into how myths can be co-opted, not least (re)created into new syntheses. This work was supported by Fundação para a Ciência e Tecnologia (2021.03558.CEECIND/CP1696/CT0002).","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"85 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139242333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This observational anthrozoological ethnographic film documents the lives of Nepal's working mules. The film finds a closeness with the mules; their sale in India, their journey to Nepal and their work in the huge brick factories of the Kathmandu valley and portering goods into the high Himalayas. Stunning cinematography and a crafted soundscape paint a moving portrait of Nepal's brick mules and the people who make their living with them. Honest, but non-judgemental, the film gives a unique insight into hardship of life for people and equines alike. Yet underlying questions about humanity and our relationship with animals underpin the film. This film formed part of a community project using Paulo Freire’s ‘critical consciousness’ (Freire, 1978) theory, involving self-reflection and transformation, leading to changes in knowledge, attitudes and behaviours that ultimately improved equine wellbeing. The theoretical underpinnings and project outcomes can be further explored through an open access paper published in Visual Studies journal.
{"title":"Brick Mule","authors":"Michael Brown","doi":"10.15845/jaf.v7i02.3815","DOIUrl":"https://doi.org/10.15845/jaf.v7i02.3815","url":null,"abstract":"This observational anthrozoological ethnographic film documents the lives of Nepal's working mules. The film finds a closeness with the mules; their sale in India, their journey to Nepal and their work in the huge brick factories of the Kathmandu valley and portering goods into the high Himalayas. Stunning cinematography and a crafted soundscape paint a moving portrait of Nepal's brick mules and the people who make their living with them. Honest, but non-judgemental, the film gives a unique insight into hardship of life for people and equines alike. Yet underlying questions about humanity and our relationship with animals underpin the film. This film formed part of a community project using Paulo Freire’s ‘critical consciousness’ (Freire, 1978) theory, involving self-reflection and transformation, leading to changes in knowledge, attitudes and behaviours that ultimately improved equine wellbeing. The theoretical underpinnings and project outcomes can be further explored through an open access paper published in Visual Studies journal.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"5 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139242932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the mid-60s, in the small Belgian town of Verviers, most of the textile factories that had contributed to the town’s prosperity closed down. On witnessing the end of an epoch, the town council decided to put together a collection of old textile machines that is now stored in an old industrial shed. The film portrays a group of retired men spending their free time repairing the machines and creating a Lieu de mémoire where they relive their former professional activity. Imitating their passion, I created my own collection of former industrial objects. By buying old weaving shuttles from flea market sellers that wanted to get rid of them, I sought to give a sense of the fragile collective memory of the city inhabitants where memories compete with oblivion. Like the warp and weft of a fabric, these two filmic materials weave together to form the film Where Things Go—a film that questions the attachment we have to things, to memory, and to the past.
{"title":"Where Things Go","authors":"Baptiste Aubert","doi":"10.15845/jaf.v7i01.3816","DOIUrl":"https://doi.org/10.15845/jaf.v7i01.3816","url":null,"abstract":"In the mid-60s, in the small Belgian town of Verviers, most of the textile factories that had contributed to the town’s prosperity closed down. On witnessing the end of an epoch, the town council decided to put together a collection of old textile machines that is now stored in an old industrial shed. The film portrays a group of retired men spending their free time repairing the machines and creating a Lieu de mémoire where they relive their former professional activity. \u0000Imitating their passion, I created my own collection of former industrial objects. By buying old weaving shuttles from flea market sellers that wanted to get rid of them, I sought to give a sense of the fragile collective memory of the city inhabitants where memories compete with oblivion. \u0000Like the warp and weft of a fabric, these two filmic materials weave together to form the film Where Things Go—a film that questions the attachment we have to things, to memory, and to the past.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125545400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How can we create a world that will offer our children wisdom, humanity, responsibility and hope? Shinichi Yasutomo, the extraordinary principal of a rural village school in Hokkaido, Japan, passionately believes he knows the way - by giving children a moral compass to guide their lives, by educating their hearts as wells as their minds. Heart of the Country takes time - a full calendar year, to follow the life of this extraordinary man and the families and children he has dedicated himself to. It is also the story of the village of Kanayama, a rural farming community bound together by love for its children and a deep respect for learning. Parents, elders and leaders of this once impoverished town have been tempered by the long journey through the cultural upheaval of postwar Japan. They embrace Principal Yasutomo’s vision of hope for the future, but not without wary glances back to the past. Produced in collaboration with the community of Kanayama, Hokkaido and the Hokkaido University of Education Japan.
{"title":"Heart of the Country","authors":"Len Kamerling","doi":"10.15845/jaf.v7i01.3725","DOIUrl":"https://doi.org/10.15845/jaf.v7i01.3725","url":null,"abstract":"How can we create a world that will offer our children wisdom, humanity, responsibility and hope? Shinichi Yasutomo, the extraordinary principal of a rural village school in Hokkaido, Japan, passionately believes he knows the way - by giving children a moral compass to guide their lives, by educating their hearts as wells as their minds. Heart of the Country takes time - a full calendar year, to follow the life of this extraordinary man and the families and children he has dedicated himself to. It is also the story of the village of Kanayama, a rural farming community bound together by love for its children and a deep respect for learning. Parents, elders and leaders of this once impoverished town have been tempered by the long journey through the cultural upheaval of postwar Japan. They embrace Principal Yasutomo’s vision of hope for the future, but not without wary glances back to the past.\u0000Produced in collaboration with the community of Kanayama, Hokkaido and the Hokkaido University of Education Japan.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128912103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tuo Dolphins takes place in both Aarhus, Denmark and in the Reef islands, the Solomon Islands. Moffat Bonunga, visits the Danish anthropologists Jens Pinholt and Peter I. Crawford in Aarhus to help them with their work on the film project. This included talking about a special event when dolphins ran ashore at Tuo village. The people of Tuo have a mythical relationship with dolphins, covered by a traditional so-called kastom story, the incident confirming the fascinating relationship between the dolphins landing on the beach and the kinship relationships. The phenomenon had allegedly been triggered when a member of a specific family line, Pelewe, passed away a few weeks before. The villagers decided to re-enact part of their Dolphin story to capture it on film, thereby using the film, and its crew, to both present and confirm the truthfulness of the legend and myth.
《两只海豚》同时发生在丹麦奥胡斯和所罗门群岛的珊瑚礁岛。Moffat Bonunga在奥胡斯拜访了丹麦人类学家Jens Pinholt和Peter I. Crawford，帮助他们完成电影项目的工作。这包括谈论海豚在两村上岸时的一个特殊事件。陀罗人与海豚有着神秘的关系，这是一个传统的所谓的kastom故事，这一事件证实了海豚登陆海滩与亲属关系之间的迷人关系。据称，这一现象是由一个特定家族的成员Pelewe在几周前去世引发的。村民们决定重新演绎他们的海豚故事的一部分，用电影捕捉它，从而利用电影和它的工作人员，来呈现和证实传说和神话的真实性。
{"title":"Tuo Dolphins","authors":"R. Scott, P. Crawford","doi":"10.15845/jaf.v7i01.3820","DOIUrl":"https://doi.org/10.15845/jaf.v7i01.3820","url":null,"abstract":"Tuo Dolphins takes place in both Aarhus, Denmark and in the Reef islands, the Solomon Islands. Moffat Bonunga, visits the Danish anthropologists Jens Pinholt and Peter I. Crawford in Aarhus to help them with their work on the film project. This included talking about a special event when dolphins ran ashore at Tuo village. The people of Tuo have a mythical relationship with dolphins, covered by a traditional so-called kastom story, the incident confirming the fascinating relationship between the dolphins landing on the beach and the kinship relationships. The phenomenon had allegedly been triggered when a member of a specific family line, Pelewe, passed away a few weeks before. The villagers decided to re-enact part of their Dolphin story to capture it on film, thereby using the film, and its crew, to both present and confirm the truthfulness of the legend and myth. ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115361450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Oak Tree, gum tree, a collaborative video work by award-winning filmmakers Catherine Gough-Brady and Christine Rogers, explores the way that audio-visual material can “embrace the complexity of the world” and “incorporate, within their structures and production processes, multiple voices that “utter” together in the creation of content” (Aston and Odorico, 2018, p. 63). Aston and Odorico use this polyphonic approach as a way of exploring relationships between documentary works and audience. Gough-Brady and Rogers are interested in seeing how this approach can be applied between filmmakers and images themselves. Can images be ascribed what Bennett calls ‘vibrancy’ (2010) and have agency in how they are cut together? How much of this becomes an expression of the filmmaker through the images? This work was selected for exhibition at the International Visual Sociology Association conference in 2022. Works cited Aston, J and Odorico, S. (2018). The Poetics and Politics of Polyphony: Towards a Research Method for Interactive Documentary, Aphaville issue 15, Summer
在获奖电影制作人Catherine Gough-Brady和Christine Rogers的合作视频作品《橡树》(Oak Tree)中，树胶树探索了视听材料如何“拥抱世界的复杂性”，并“在其结构和制作过程中融入多种声音，在内容创作中一起“发出”(Aston and Odorico, 2018，第63页)。Aston和Odorico用这种复调的方式来探索纪录片作品与观众之间的关系。高夫-布雷迪和罗杰斯对这种方法如何应用于电影制作人和影像本身很感兴趣。图像是否可以被归为Bennett所说的“活力”(2010)，并在如何将它们切割在一起方面具有代理?这其中有多少是电影人通过影像表达出来的?该作品入选2022年国际视觉社会学协会会议展览。作品引自aston, J和Odorico, S.(2018)。复调的诗学和政治:走向互动纪录片的研究方法，Aphaville第15期，夏季
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Tributary is an experimental ethnographic film that traces the movement and harnessing of natural resources within the Icelandic landscape to support our digital lives. Tributary explores covert, 'black-boxed' data centres (remote and highly secure sites) by tracking water and geothermal sources to the infrastructure required to power and house these physical locations of intensive computational processing. Created from a combination of traditional and experimental field recording techniques made within Iceland and the UK, Tributary aims to problematise the notion of 'green' data centres. It showcases the intensive energy requirements required to prop up the digital infrastructure of contemporary life. These include cryptocurrency mining, cloud storage, digital image production and media streaming.
{"title":"Tributary","authors":"James Davoll","doi":"10.15845/jaf.v7i01.3798","DOIUrl":"https://doi.org/10.15845/jaf.v7i01.3798","url":null,"abstract":"Tributary is an experimental ethnographic film that traces the movement and harnessing of natural resources within the Icelandic landscape to support our digital lives.\u0000Tributary explores covert, 'black-boxed' data centres (remote and highly secure sites) by tracking water and geothermal sources to the infrastructure required to power and house these physical locations of intensive computational processing.\u0000Created from a combination of traditional and experimental field recording techniques made within Iceland and the UK, Tributary aims to problematise the notion of 'green' data centres. It showcases the intensive energy requirements required to prop up the digital infrastructure of contemporary life. These include cryptocurrency mining, cloud storage, digital image production and media streaming. ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130076924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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