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Development of anthropology as a discipline
The development of anthropology as a discipline
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With concise and detailed reference to two examples, discuss what are the most unique contributions that an anthropology beyond text can bring to the discipline.
Anthropology from the offset has tried to obtain a scientific grounding and basis, for the study of humans. In attempting to establish objectivity, documentation of research away from written text has often been susceptible to scrutiny. Many early anthropologists as Taylor stated, expressed a sense of: ‘fear that films will somehow destroy or discredit their anthropological makers and viewers.’ (1996:67) Whereas others were merely stubborn to succumb to modernisation of the subject. Mead argues: ‘more words have been used, disputing the value of, refusing funds for than effort put
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Ethnographical film is an audio-visual medium created from fragments of shorter clips, often following a story line, documentary style, or theme. It has been praised in the past for a life-like portrayal of other peoples, with Mead arguing that the behaviour film captures can be preserved for future generations, passing down rituals and language to predecessors. (1975:4) Granting all of this, aspects of the medium such a subtitles and background commentary can: ‘often impart authority's authority to the most fragmented images.’ (MacDougall 1978:413) Film finds it hard to detach itself from predispositions and cannot be as open-ended as other methods such as photography. Therefore, despite photo sequencing and captions being able to: ‘help “illustrate” the story or enhance the products appeal.’ (Becker 1978:4) Photographs can act as a medium between ethnographic writing and film as unless completely staged can: ‘arouse widely varying interpretations,’ …show more content…
Clifford discusses the attachment of authors in their texts as intangible (1986:17). Whereas, MacDougall analyses limitations in ethnographic film as: ‘the camera can never be everywhere at once,’ and that visual anthropology can: ‘leave a significant gap in our understanding,’ (1978:12). Therefore, although socialisation into a certain society can limit the validity of anthropological practices it does not mean they aren’t valuable. If there was no editing or restraints to fieldwork, it could continue to be endless and no conclusions would ever be made. However as argued earlier, photography does give a good medium for the viewer to make their own assumptions about the piece and Sontag describe it as: ‘movies and television programs light up walls, flicker, and then go out; but with still photographs the image is also the object,’
Personal experience and reflexivity should be used within anthropology as a tool to reflect on the culture that is being studied and not a refocusing of attention on the self. Works such as Dorinne Kondo’s “Dissolution and Reconstitution of Self,” use the idea of reflexivity as a mirror in which to view the culture being studied in a different manner. This use of reflexivity allows for the focus to stay on the culture being studied. A move away from this is the new branch of humanistic anthropology represented in this essay by Renato Rosaldo’s “Grief and a Headhunter’s Rage” and Ruth Behar’s “Anthropology that Breaks Your Heart” allows anthropologists to use reflexivity as a way to explore universal human feelings. For me, this is not the study of anthropology as much as self-reflexive psychology. The focus shifts from culture to self. The anthropologists completely understands the feelings of the people he/she is studying. I think that it is rather ambitious to state that emotion is univeral, and I do not think that it is the job of anthropologists to do so. The reflexive voice is a necessary aspect of ethnographic writing, but the anthropologist must be careful not to shift focus from concentrating on culture to concentrating on herself.
“The documentary tradition as a continually developing “record” that is made in so many ways, with different voices and vision, intents and concerns, and with each contributor, finally, needing to meet a personal text” (Coles 218). Coles writes “The Tradition: Fact and Fiction” and describes the process of documenting, and what it is to be a documentarian. He clearly explains through many examples and across disciplines that there is no “fact or fiction” but it is intertwined, all in the eye of the maker. The documentarian shows human actuality; they each design their own work to their own standards based on personal opinion, values, interest and whom they want the art to appeal to. Coles uses famous, well-known photographers such as Dorthea Lange and Walker Evans, who show the political angle in their documentations and the method of cropping in the process of making the photo capture exactly what the photographer wants the audience to view. In this paper I will use outside sources that support and expand on Coles ideas with focus on human actuality, the interiority of a photograph, and the emotional impact of cropping.
Culture is beautifully complex. Cultural practices naturally, therefore, are made up of intricate implicit and explicit thoughts and behaviours. Participant-observation is at the centre of anthropological research because it allows the anthropologist to experience rather than read. Bronislaw Malinowski, regarded as the father of participant-observation, created a scientific framework for how research could be conducted in the field. This framework has evolved as anthropology has changed over the ages. In this essay, I will compare and contrast the central premises of Malinowski’s 1922 book Argonauts of the Western Pacific and a contemporary anthropologist Nancy Kalow’s article Living Dolls which reflects on the participant-observation she carried
Anthropology proves to be satisfying and intellectually fulfilling to many in the field. However, there are also many challenges and bumps in the road along the way. Napolean A. Chagnon and Claire Sterk faced many of these challenges themselves.
In the book titled Around the World in 30 Years, Barbara Gallatin Anderson’s makes a precise and convincing argument regarding the acts of being a cultural anthropologist. Her humor, attention to detail, and familiar analogies really allow for a wholesome and educating experience for the reader. Her credible sources and uniform writing structure benefits the information. Simply, the book represents an insider’s look into the life of a cultural anthropologist who is getting the insider’s look to the lives of everybody
Embarking on a journey of anthropological fieldwork will undoubtedly include a plethora of setbacks. At its foundation, fieldwork requires developing rapport with the native people in order to gain access of genuine knowledge pertaining to the specific culture being studied. Subsequently, social communication between the researcher and the native people is a key component to the entire process; yet simultaneously it is a root of the many problems a researcher can encounter while in the field. It is no secret that the cultural background of the researcher can often highly contrast the culture he or she enters during fieldwork. This initial cultural adaptation one must undergo while doing anthropological fieldwork is what many in the realm describe as culture shock.
Schwartz, Donna. “Objective Representation: Photographs as Facts.” Picturing the Past: Media History & Photography. Ed. Bonnie Brennen, Hanno Hardt. Chicago: University of Illinois Press, 1999. 158-181.
Livingstone, Paisley & Carl Plantinga. The Routledge Companion to Philosophy and Film. London: Routledge – Taylor & Francis Group. 2009. Print.
Kedia, Satish, and Willigen J. Van (2005). Applied Anthropology: Domains of Application. Westport, Conn: Praeger. pp. 16, 150.
Cultural anthropology examines different cultures and studies them in their native environments by observing or becoming part of each group to understand each culture from within. According to Crapo (2013), “Cultural Anthropology is the study of the similarity and diversity of human ways of life (cultures) and of the regularities in how culture functions” (sec. 1.1). When observing each culture neutrally from the outside in, is called an etic point of view and when experiencing the culture from within is referred to as an emic perspective. Emic narratives can be subjective and are explained by the culture experiencing it. In this paper, I will examine gender and the discrimination of women in my own culture from an outside or etic perspective,
In Sontag’s On Photography, she claims photography limits our understanding of the world. Though Sontag acknowledges “photographs fill in blanks in our mental pictures”, she believes “the camera’s rendering of reality must always hide more than it discloses.” She argues photographs offer merely “a semblance of knowledge” on the real world.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.
Photography has created an outlet for the masses to story tell. It has a way of speaking without words like most art forms and is a manner of expression in itself. To eradicate photography from humans would be equivalent to taking away a limb from humankind. Our society has grown an immense amount of dependency on it. Photography has become almost a daily menial task such as brushing your teeth; where we must take pictures of the things we deem important or equally unimportant, even more so with the invention of social media outlets such as Instagram and Snapchat, where photography is the main source of communication between people who use them. Susan Sontag offers the basis of what taking pictures can undertake in both our daily lives and moments that are not part of our daily lives, such as travel. Traveling to places where one is not accustomed can flare pent up anxiety. A way to subdue that anxiety could be through taking pictures, since it’s the only factor that we have total control over in a space where we don’t have much, or, any control of our surrounding environment. On the other hand, taking photos can also be a tool of power in the same sense as it allows for it to be a defense against anxiety. With the camera in our hands, we have the power to decide who, what, where, when, and why we take a picture. This in turn also gives the person who took the picture power over those who later analyze the photos, letting them decide the meaning of the photo individually, despite the intended or true meaning.
Credibility- the anthropology contributes a lot it make us understand human issues and to differences that it brings to the many different fields of application which rely on its validity, reliability and relevancy (Hill 2012:14)
The idea of using an holistic approach in Anthropology is not only demonstrated throughout these works, but the downfalls of failing to use holism is shown as well. When discussing perspective, the standpoint of the individual and the relationship he or she has with the subject or area of study is of vital importance. Any pre-conceived notions one has entering into a study can affect the process and validity of gathering information in the form of facts. In the tale, the men were unable to gather reliable information because they had already made up their minds about what the elephant looked and acted like. Anderson, however, was able to observe from both a participant standpoint and an onlookers point of view when collecting information regarding her various cultures of study. Ones culture provides a frame of reference that places limitations on the way people of varying cultures look at one another (Tversky and Kahneman). If one has only knowledge and experience of their native culture, they will have difficulty comprehending the world around them