This film takes inspiration from the work of Kon Wajiro,- an architect, ethnologist and sociologist who created detailed sketches of everyday life on the streets of Tokyo in the 1920s. Shot in Aomori City, Japan in the depths of winter, Sonotoki captures fleeting movements through the snowy streets as they play out before a static camera. Humans are made of generations of cycles; each leaving subtle indications that are part of an inexpressible whole.
{"title":"Sonotoki","authors":"Amanda Belantara","doi":"10.15845/jaf.v6i02.3805","DOIUrl":"https://doi.org/10.15845/jaf.v6i02.3805","url":null,"abstract":"\u0000\u0000This film takes inspiration from the work of Kon Wajiro,- an architect, ethnologist and sociologist who created detailed sketches of everyday life on the streets of Tokyo in the 1920s. Shot in Aomori City, Japan in the depths of winter, Sonotoki captures fleeting movements through the snowy streets as they play out before a static camera. Humans are made of generations of cycles; each leaving subtle indications that are part of an inexpressible whole.\u0000\u0000","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129706731","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 documentary opens the gate to a courtyard and the lives of the Yang family as they look into the past and towards the future for guidance on how to secure a home in post-reform China. Yang used to live with his two uncles in his ancestral courtyard home until the Land Reform swept the country in the 1950's. As a result of the collectivization that ensued, his uncles were assigned `landlord´ class status, stripped of their property rights and evicted. Because he enjoyed `middle peasant´ status, Yang was allowed to stay. However, he was force to share the Yang clan courtyard with three poor peasant families, and has been living with them ever since. Today in post-Reform China's market economy, property rights have been restored and many Chinese are seeking to better their living conditions. The aging Yang now has the opportunity to buy back a portion of his family courtyard. At the same time, Yang's son dreams of building a courtyard home by the lake. This documentary opens the gate to the Yang ancestral courtyard and sheds light on the lives and emotions of the family as they look into the past and towards the future for guidance on how to secure a home in which they and the future generations of Yangs can continue to prosper.
{"title":"Our Courtyard - Bai people of South West China","authors":"Frode Storaas, Heyan Wang","doi":"10.15845/jaf.v6i02.3627","DOIUrl":"https://doi.org/10.15845/jaf.v6i02.3627","url":null,"abstract":"This documentary opens the gate to a courtyard and the lives of the Yang family as they look into the past and towards the future for guidance on how to secure a home in post-reform China.\u0000Yang used to live with his two uncles in his ancestral courtyard home until the Land Reform swept the country in the 1950's. As a result of the collectivization that ensued, his uncles were assigned `landlord´ class status, stripped of their property rights and evicted. Because he enjoyed `middle peasant´ status, Yang was allowed to stay. However, he was force to share the Yang clan courtyard with three poor peasant families, and has been living with them ever since.\u0000Today in post-Reform China's market economy, property rights have been restored and many Chinese are seeking to better their living conditions. The aging Yang now has the opportunity to buy back a portion of his family courtyard. At the same time, Yang's son dreams of building a courtyard home by the lake. This documentary opens the gate to the Yang ancestral courtyard and sheds light on the lives and emotions of the family as they look into the past and towards the future for guidance on how to secure a home in which they and the future generations of Yangs can continue to prosper.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130126866","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}
Alfred Melotu is a Big Man and Paramouth Chief among the Melanesians in the Reef Islands group off, the Solomon Islands. In 1994 a film crew visited Alfred in order to plan a future film. Unfortunately, on the return in 1996 Alfred was on his deathbed suffering from mouth cancer. Nevertheless, he was still a Big Man. Alfred consequently allowed the film crew to record his deathbed and funeral in order to be remembered for the future. However, the film was also to be used as a documentation for his family in order to further secure his land and possessions from other Big Men. In other words, Alfred, used the film as a medium to try to further his power beyond his death.
{"title":"Alfred Melotu, The Funeral of a Paramount Chief","authors":"R. Scott, P. Crawford, Trygve Tollefsen","doi":"10.15845/jaf.v6i02.3697","DOIUrl":"https://doi.org/10.15845/jaf.v6i02.3697","url":null,"abstract":"Alfred Melotu is a Big Man and Paramouth Chief among the Melanesians in the Reef Islands group off, the Solomon Islands. In 1994 a film crew visited Alfred in order to plan a future film. Unfortunately, on the return in 1996 Alfred was on his deathbed suffering from mouth cancer. Nevertheless, he was still a Big Man. Alfred consequently allowed the film crew to record his deathbed and funeral in order to be remembered for the future. However, the film was also to be used as a documentation for his family in order to further secure his land and possessions from other Big Men. In other words, Alfred, used the film as a medium to try to further his power beyond his death. ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131675889","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}
What is it like to grow up in a family with different norms? 'Lode's Code' is an auto- visual ethnographic portrait that shows the relationship with the filmmaker oldest brother Lode and her search into her own position within the family nest. Her leaving is the common thread. Using family footage collected over four years; Marieke (the filmmaker) has made a hybrid animation-documentary. She does not offer explanations, but brings subjective experiences to the fore.
{"title":"Lode's Code","authors":"Marieke Vandecasteele","doi":"10.15845/jaf.v6i1.3428","DOIUrl":"https://doi.org/10.15845/jaf.v6i1.3428","url":null,"abstract":"What is it like to grow up in a family with different norms? 'Lode's Code' is an auto- visual ethnographic portrait that shows the relationship with the filmmaker oldest brother Lode and her search into her own position within the family nest. Her leaving is the common thread. Using family footage collected over four years; Marieke (the filmmaker) has made a hybrid animation-documentary. She does not offer explanations, but brings subjective experiences to the fore.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125447280","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}
"Itelmen stories" is a poignant tale of the social and personal significance of a language that is near the end of its existence as an orally transmitted means of communication. The film presents both the speaking of the Itelmen language, as it exists today and the meaning of using it in the past and the present. The action in the film revolves around an ancestrally used practice of hunting sable by net. Set in rural Kamchatka in the Russian Far East, where fewer than 20 speakers of Itelmen remain, the film goes beyond its original aim to recapture a language and a hunting practice that are remembered but no longer in use. Two hunters encounter the wild environs and villages of Kamchatka as a history laden homeland and memories, nostalgia, resignation and hope echo throughout the film.
{"title":"Itelmen Stories","authors":"Liivo Niglas","doi":"10.15845/jaf.v6i1.3456","DOIUrl":"https://doi.org/10.15845/jaf.v6i1.3456","url":null,"abstract":"\"Itelmen stories\" is a poignant tale of the social and personal significance of a language that is near the end of its existence as an orally transmitted means of communication. The film presents both the speaking of the Itelmen language, as it exists today and the meaning of using it in the past and the present. The action in the film revolves around an ancestrally used practice of hunting sable by net. Set in rural Kamchatka in the Russian Far East, where fewer than 20 speakers of Itelmen remain, the film goes beyond its original aim to recapture a language and a hunting practice that are remembered but no longer in use. Two hunters encounter the wild environs and villages of Kamchatka as a history laden homeland and memories, nostalgia, resignation and hope echo throughout the film.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130506786","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}
Sweet Tassa: Music of the Indian Caribbean Diaspora details the history, repertoire, and socio-political significance of tassa drumming in Trinidad & Tobago. The film profiles the life and work of noted tassa drummer Lenny Kumar and his family while also developing the notion of tassa performance practice as a metaphor for Indian Trinidadian cultural and national identity. In the process, the film traces tassa’s movement from India to the Caribbean, summarizes its transformation in diaspora, and speculates about its future. Proceeding from analysis of tassa repertoire in Muslim and Hindu performance contexts, the film explores tassa’s physical and conceptual transformations in diaspora and the ongoing push to make tassa a co-national instrument alongside steel pan. In this regard, interviewees discuss the implication of tassa as “foreign”—despite more than 150 years of Indian presence in the Caribbean—and therefore unsuitable as a co-national instrument alongside steel pan. The film’s conclusion emphasizes tassa as an encapsulation of Indian identity: tassa’s performance contexts and performance practice signal India as a place of origin. Yet these very same aspects, by virtue of their persistence in diaspora, equally signal Trinidad and Tobago as home.
{"title":"Sweet Tassa: Music of the Indian Caribbean Diaspora","authors":"Christopher Ballengee","doi":"10.15845/jaf.v6i1.3474","DOIUrl":"https://doi.org/10.15845/jaf.v6i1.3474","url":null,"abstract":"Sweet Tassa: Music of the Indian Caribbean Diaspora details the history, repertoire, and socio-political significance of tassa drumming in Trinidad & Tobago. The film profiles the life and work of noted tassa drummer Lenny Kumar and his family while also developing the notion of tassa performance practice as a metaphor for Indian Trinidadian cultural and national identity. In the process, the film traces tassa’s movement from India to the Caribbean, summarizes its transformation in diaspora, and speculates about its future. \u0000Proceeding from analysis of tassa repertoire in Muslim and Hindu performance contexts, the film explores tassa’s physical and conceptual transformations in diaspora and the ongoing push to make tassa a co-national instrument alongside steel pan. In this regard, interviewees discuss the implication of tassa as “foreign”—despite more than 150 years of Indian presence in the Caribbean—and therefore unsuitable as a co-national instrument alongside steel pan. The film’s conclusion emphasizes tassa as an encapsulation of Indian identity: tassa’s performance contexts and performance practice signal India as a place of origin. Yet these very same aspects, by virtue of their persistence in diaspora, equally signal Trinidad and Tobago as home.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125760098","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}
Set amid the remote hills of Eastern Bosnia, THEN COMES THE EVENING provides a quiet meditation on the seemingly uncomplicated pastoral lives of two women. Through simple and precise composition with attention to light and texture, the mundane details of their lives are rendered with the tactile richness of an oil painting. Their every action and word is infused with ceremony, ritual, and intangible cultural heritage in this intimate yet epic examination of how nature and humanity interact.
{"title":"Then Comes the Evening","authors":"M. Novakovic","doi":"10.15845/jaf.v6i1.3472","DOIUrl":"https://doi.org/10.15845/jaf.v6i1.3472","url":null,"abstract":"Set amid the remote hills of Eastern Bosnia, THEN COMES THE EVENING provides a quiet meditation on the seemingly uncomplicated pastoral lives of two women. Through simple and precise composition with attention to light and texture, the mundane details of their lives are rendered with the tactile richness of an oil painting. Their every action and word is infused with ceremony, ritual, and intangible cultural heritage in this intimate yet epic examination of how nature and humanity interact.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131095327","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}
Scrap is our future is a film made about teenage garbage collectors in Ngaoundéré, a city in northern Cameroon. This film tells an intimate story of Dembélé an orphan, which since the death of his mother in 2015, has become responsible for his own life. His life is set in the streets with other youths collecting scrap. Dirty, sleeping in left-behind bus wreck, addicted to various drugs, they belong to a growing but highly stigmatised group of youths in Ngaoundéré. Reflecting over life Dembélé says “it is scrap that is our future”.
{"title":"Scrap is our Future","authors":"Pierre Tizi Lankissa","doi":"10.15845/jaf.v6i01.3492","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3492","url":null,"abstract":"Scrap is our future is a film made about teenage garbage collectors in Ngaoundéré, a city in northern Cameroon. This film tells an intimate story of Dembélé an orphan, which since the death of his mother in 2015, has become responsible for his own life. His life is set in the streets with other youths collecting scrap. Dirty, sleeping in left-behind bus wreck, addicted to various drugs, they belong to a growing but highly stigmatised group of youths in Ngaoundéré. Reflecting over life Dembélé says “it is scrap that is our future”.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125872518","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}
Jean Louis, a Central African living in the Cameroonian city of Ngaoundéré, is in search for a better life condition for him and his family. Ascanio is an Italian studying abroad, who is working to become a visual anthropologist. What will come out from this encounter, when they are both striving to achieve their aims? The film is a reflexive account on how the object of the research, patron-client relations – so the practice of establishing relationships based on trust and mutual solidarity with more resourceful persons -, became impossible to disentangle from the researcher’s identity and subjective experience, once this was put into the same dynamics of togetherness that he was studying.
{"title":"We are Together","authors":"Ascanio Varroni","doi":"10.15845/jaf.v6i01.3502","DOIUrl":"https://doi.org/10.15845/jaf.v6i01.3502","url":null,"abstract":"Jean Louis, a Central African living in the Cameroonian city of Ngaoundéré, is in search for a better life condition for him and his family. Ascanio is an Italian studying abroad, who is working to become a visual anthropologist. What will come out from this encounter, when they are both striving to achieve their aims? \u0000The film is a reflexive account on how the object of the research, patron-client relations – so the practice of establishing relationships based on trust and mutual solidarity with more resourceful persons -, became impossible to disentangle from the researcher’s identity and subjective experience, once this was put into the same dynamics of togetherness that he was studying.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114055154","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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