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In comparison to !Kung San: Traditional Life, this video shows some of the dramatic changes in life-style that Ju/'hoansi had experienced by 1986. No longer able to rely on hunting and gathering for subsistence, Ju/'hoansi collect mealie meal welfare, spend money earned from army jobs on alcohol and consumer goods, and live in a crowded area with increased fighting and illness.
This video depicts traditional Ju/'hoan life by using vignettes from longer films in the !Kung San series. Footage selected shows tool-making technology, hunting and gathering, social life and children at play, and gives the viewer a feel for the vastness and beauty of the Nyae Nyae region of the Kalahari Desert.
In 1954, the Hai||om people were evicted from Etosha by the South African-controlled South West African Administration. In 2015, the Hai||om filed the case of Tsumib v Government of the Republic of Namibia in the High Court of Namibia. “Beggars on our own land …” unravels the historical and contemporary socio-legal complexities that led to the Tsumib case. At the core of the case lies the legal question, how can the Hai||om people approach the Namibian Courts in order to claim compensation for the loss of their ancestral lands?Odendaal goes into detail how the Tsumib case materialised under the post-independence Namibian constitutional discourse. He assesses the Namibian land reform programme and its oversight in dealing with historical land dispossessions. He inspects Hai||om “identity” and how it was used to strengthen their case. He concludes with an examination of Namibia’s outdated and restrictive legal framework, which ultimately denied the Hai||om people their constitutional right to be heard in the Namibian Court. While the future of ancestral land claims in Namibia depends on the political will of the Namibian government, Odendaal argues that the Namibian courts have a duty to comply with the rights giving nature of the Namibian Constitution that lays the foundation for the Hai||om people’s ancestral claims.
American Ethnographic Film and Personal Documentary is a critical history of American filmmakers crucial to the development of ethnographic film and personal documentary. The Boston and Cambridge area is notable for nurturing these approaches to documentary film via institutions such as the MIT Film Section and the Film Study Center, the Carpenter Center and the Visual and Environmental Studies Department at Harvard. Scott MacDonald uses pragmatism’s focus on empirical experience as a basis for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how a pioneering, engaged, and uniquely cosmopolitan approach to documentary developed over the past half century.
This volume is designed to revolutionize the field of communication by identifying a broad ethical theory which transcends the world of mass media practice to reveal a more humane and responsible code of values. The contributors, representing a diverse range of intercultural perspectives, defend the possibility of universal moral imperatives such as justice, reciprocity and human dignity. Through an examination of the values in which their cultures are grounded, they provide a short list of ethical principles which form the common ground from which to view contemporary issues in the media, interpersonal communication, mediation and conflict resolution.
This richly illustrated book documents indigenous knowledge and uses of San material culture and artefacts collected a century ago, as described by KhoiSan elders to the authors.
The Cinema of John Marshall explores the life and art of the pioneering ethnographic filmmaker. Its centerpiece is an autobiographical essay in which Marshall assesses his forty-year involvement with the San peoples (Bushmen) of South Africa and his films, from the 1957 award winning The Hunters to his current work in progress, Death by Myth. The book weaves together the political economy of San dispossession, history and ethnography, personal narratives of historical importance, and expositions of film techniques and film language. The first English language study of the man and his work, The Cinema of John Marshall conveys the complex unity of Marshall's life: the filmic, the intellectual, the political, and the human.
Representing Aboriginality takes a close look at the dominant trends in the representation of aboriginal people in Australian, South African and Aotearoa/ New Zealand film. Jan Mohamed's thesis of The Economy of the Manichean Allegory is employed to interrogate these trends in terms of Other/Self binaries, where representations of the Other are understood to be sensitive to tensions within the individual psyches of the media-makers as well as to social tensions and stresses within the "political unconscious" of the society in which they appear. Thee films are analyzed in the discussion of the dominant trends: The Great Dance- a hunter's story, The Last Wave, and Once Were Warriors. Clelland-Stokes' forceful analysis of visual representations pf aboriginality will be of interest to scholars and students on the fields of visual anthropology, cultural anthropology, culture and media studies, film studies, and anyone interested in the visual culture of aboriginal and indigenous communities.
Although gossip is disapproved of across the world’s societies, it is a prominent feature of sociality, whose role in the construction of society and culture cannot be overestimated. In particular, gossip is central to the enactment of politics: through it people transform difference into inequality and enact or challenge power structures. Based on the author’s intimate ethnographic knowledge of Nukulaelae Atoll, Tuvalu, this work uses an analysis of gossip as political action to develop a holistic understanding of a number of disparate themes, including conflict, power, agency, morality, emotion, locality, belief, and gender. It brings together two methodological traditions—the microscopic analysis of unelicited interaction and the macroscopic interpretation of social practice—that are rarely wedded successfully. Drawing on a broad range of theoretical resources, Niko Besnier approaches gossip from several angles. A detailed analysis of how Nukulaelae’s people structure their gossip interactions demonstrates that this structure reflects and contributes to the atoll’s political ideology, which wavers between a staunch egalitarianism and a need for hierarchy. His discussion then turns to narratives of specific events in which gossip played an important role in either enacting egalitarianism or reinforcing inequality. Embedding gossip in a broad range of communicative practices enables Besnier to develop a nuanced analysis of how gossip operates, demonstrating how it allows some to gain power while others suffer because of it. Throughout, he is particularly attentive to the ways in which anthropologists themselves are the subject and object of gossip, making his work a notable contribution to reflexive social science. Written in an engaging and accessible style, Gossip and the Everyday Production of Politics will appeal to students and scholars of political, legal, linguistic, and psychological anthropology; social science methodology; communication, conflict, gender, and globalization studies; and Pacific Islands studies.
The Ju/’hoan San, or Ju/’hoansi, of Namibia and Botswana are perhaps the most fully described indigenous people in all of anthropology. This is the story of how this group of former hunter-gatherers, speaking an exotic click language, formed a grassroots movement that led them to become a dynamic part of the new nation that grew from the ashes of apartheid South West Africa. While coverage of this group in the writings of Richard Lee, Lorna Marshall, Elizabeth Marshall Thomas, and films by John Marshall includes extensive information on their traditional ways of life, this book continues the story as it has unfolded since 1990. Peopled with accounts of and from contemporary Ju>/’hoan people, the book gives newly-literate Ju/’hoansi the chance to address the world with their own voices. In doing so, the images and myths of the Ju/’hoan and other San (previously called “Bushmen”) as either noble savages or helpless victims are discredited. This important book demonstrates the responsiveness of current anthropological advocacy to the aspirations of one of the best-known indigenous societies.