A new collection of over 600 videos related to indigenous voices from publisher Alexander Street Press. Individual titles are also indexed in discoverE.
"The role of the traditional ethnographer is changing as the perspectives and epistemologies of indigenous peoples have taken on central significance in the discipline, challenging earlier representations and implicit “us versus them” constructs. In order to create a platform for indigenous voices to address issues from indigenous perspectives, we have dedicated the third volume of the ethnographic film series to indigenous filmmakers.
This is the only academic collection in the world to offer such a comprehensive resource of documentaries, feature films and shorts made by and for indigenous people and communities. Topics are simultaneously local and global, with particular emphasis on the human effects of climate change, sustainability, indigenous and local ways of interpreting history, cultural change, and traditional knowledge and storytelling.
Content partners include: preeminent artists like Hopi filmmaker Victor Masayesva, Samoan ethnographer Galumalemana Steven Percival, native Hawaiian director Eddie Kamae, and First Nations filmmaker Alanis Obomsawin; distributors such as Vision Maker Media; and organizations like the Secretariat of the Pacific Community, the Indigenous Film Archive of Nepal, the Mexican Film Institute, and the National Film Board of Canada." [From publisher website].
"Ethnographic Video Online, Royal Anthropological Institute Teaching Edition is a curriculum-aligned collection of videos and segments curated to support the teaching of introductory anthropology courses. Each video and segment within this collection are accompanied by a teaching guide providing background information, lesson plans, and class room exercises and activities. There are a variety of themes that are discussed including family and kinship, gender roles, cultural identity, belief systems and other topics centered around diversity, change, and culture. All teaching material within this collection are created by the Education Committee of the Royal Anthropological Institute." [From publisher website].
Sisters in law. Ayisi, Florence; Longinotto, Kim (2021).
A documentary of a courtroom in Kumba, Cameroon, where a female prosecutor and judge work to put an end to their community's tacit acceptance of child abuse, wife beating and rape.
Tara's footprint. Barreiro, Georgina (2018).
Tara's Footprint skilfully conjures the atmosphere of Khechuperi, a sacred village in the Himalayas in NE India, occupied by the Bhatia people. Eschewing standard exposition, we meet inhabitants in snatched vignettes and tableaux, gradually piecing together relationships and values that structure it. Creative expression emerges as central to daily life; here traditional Buddhist music interweaves with Bollywood movies to create a wonderfully hybrid artistic space. The younger generation receive our particular attention: a young man strides around purposefully in Levis, talking about tourism industry and politics; young boys looking a little bored in Buddhist school; young girls earnestly preparing dances for an upcoming talent show. Beautifully shot, Tara's Footprint leads its audience with the patience of an ethnographer towards understanding a community.
Fast trip, long drop. Bordowitz, Gregg (2016).
"In the spring of 1988, video-maker/activist Gregg Bordowitz tested HIV-antibody positive. He then quit drinking and taking drugs and came out to his parents as a gay man. This imaginative autobiographical documentary began as an inquiry into these events and the cultural climate surrounding them. While writing the film, a close friend was diagnosed with breast cancer and his grandparents were killed in a car accident. The cumulative impact of these events challenged his sense of identity, the way he understood his own diagnosis, and the relationships between illness and history"--Video Data Bank website.
Paani: of women and water. Burstin, Costanza (2018).
Against the bleached sky of Rajasthan, we encounter the women of a small Muslim village as they engage in their work. Here, water binds their daily labour rituals: they collect and carry water in massive urns, they clean plates and clothes with it, water their animals, and even maintain their homes with it (we see them churn mud to smear across their floors). A record of the ongoing cycles of women's labour ("we make food, we eat, we sleep, we wake up..."), their sense of humour and resilience, and the ways the community co-operate to deal with scarcity.
The angelmakers. Bussink, Astrid (2006).
A documentary video that reconstructs the arsenic murders that took place in the small Hungarian village of Nagyrév. The victims were all men, apparently killed by their wives.
In Aiye's Garden. Defersha, Eyob (2019).
In Aiye’s Garden is a film in the Guardians of Productive Landscapes series (editor Ivo Strecker). Enset, which is related to the banana plant, is very drought resistant and a good source of carbohydrates (in the stem and underground bulb). Enset has been farmed from time immemorial in the Gamo Highlands of southern Ethiopia, where women are the main cultivators. The film focuses on Aiye, the filmmaker's grandmother, who shares her knowledge about the enset plant, and shows how it is possible to produce good organic food by using simple farming tools and natural fertilizers. We see how she and a young kinswoman cultivate (using animal dung and organic waste to fertilize the plants), propagate (generating suckers from the corm), harvest (digging up the plant) and process (scraping and fermentating) the enset, and finally produce a variety of nutritious dishes.
Horror in the Andes. Dietrich, Martha-Cecilia (2019).
Horror in the Andes is a behind-the-scenes documentary that follows the process of making a horror movie in Ayacucho, Peru. Directed by audio-visual anthropologist Martha-Cecilia Dietrich, it explores how Andean filmmakers use the horror genre as a means to revive stories of a pre-colonial past. Appropriating a global cinematic language to tell local (hi)stories, our attention is drawn to contemporary social issues and the legacies of violent pasts. Infused with warmth and affection, Horror in the Andes pays testament to the craft of filmmaking and its community.
It was tomorrow. D'Onofrio, Alexandra (2018).
After living in Italy for almost ten years without documents, three Egyptian men - Ali, Mahmoud and Mohamed - are suddenly awarded legal residence. As a whole new world of opportunities opens up to them, they revisit the ports where they arrived in Italy as teenagers after hazardous journeys across the Mediterranean. Here, difficult memories are intertwined with fantasies about what could be, or could have been, and their possible new lives. Through creative collaborative filmmaking that weaves animation, theatre and storytelling with documentary images, we are able to delve deep into the memories and imaginations of these young men.
Oyate. Girmus, Dan (2020).
A time capsule of moments, feelings, gestures, and events that took place on Pine Ridge Reservation in South Dakota during the summer of 2015. The narrative, pieced together from the daily activities of two Lakota families and a few other subjects, anchors the viewer among the rhythms and sounds of everyday life while sidestepping the kinds of negative, issue-based approaches that have so long dominated films set in native spaces. While not an outwardly politicized film, Oyate is a deeply political one; a film that represents a collection of seemingly commonplace occurrences (a conversation in the back of a truck, a group of young girls lighting off fireworks, a wedding reception) as deeply felt grasps toward purpose in an often difficult world.
Four sheets to the wind. Harjo, Sterlin (2007).
After his father's suicide, Cufe, embarks on a journey outside of his reservation to find a more fulfilling life.
Barking Water. Harjo, Sterlin (2010).
Frankie, a proud Native American, is attempting to reconnect with his estranged family. Released from the hospital, but still very ill, he hits the road with his ex-lover Irene, who acts as Frankie's nurse but refuses to offer forgiveness for his past indiscretions. As they travel through the sun-dappled country, they encounter various eccentric personalities. But his journey really begins when he reunites with his daughter and finally meets her newborn child.
This may be the last time. Harjo, Sterlin (2013).
Documentary about Native American music from Oklahoma-based filmmakers Sterlin Harjo and Matt Leach, focusing on the ceremonial music of the Creek Nation dating back to the early 19th century that combines Creek, Scottish, and African influences, and telling stories of members of the Creek Nation and the influence of music. As important as the Creek hymns are to American history and culture, their survival is in jeopardy.
Wives. Holtedahl, Lisbet (2017).
Alhajji Ibrahim is an Islamic scholar who has served as judge at the Sultanate of Ngaoundéré in Northern Cameroon for 46 years. The film follows Alhajji during the last years of his life, focusing on the relationships in a polygamous family. Living far away from urban centres, people like Alhaji and his family struggle to adapt to the arrival of modern education, their increasing marginalization, worsening poverty, and, in recent years, the constant threat of the Boko Haram insurgency. Shot over several years, Wives provides rare, intimate glimpses into the dynamics of a West-African polygamous Muslim family, and the challenges faced by an older generation whose norms and values are losing legitimacy in a rapidly changing environment.
A year in the field. Lanson, Dennis; Gmelch, George (2020).
This documentary follows Estonian anthropologist Joonas Plaan as he studies the impact of climate change in a Newfoundland fishing village. The film shows how cultural anthropologists carry out their research, revealing the value of long-term ethnographic fieldwork, particularly participant observation, the quintessential method of cultural anthropology. At first, Plaan struggles to gain acceptance among local people, some of whom suspect he is a Russian spy. Once he begins working alongside the fishers as a crew member on crab and lobster boats, however, he not only develops rapport but gains their respect and trust. By following Plaan, the film illustrates all the main elements of field research: from moving into a foreign community, learning the language, defining one's role, living as closely as possible to the ways of the locals, and recording their culture for a year or more.
Family and Subsistence in the Hills of Hamar. We are Guests of Shawa. Lydall, Jean; Strecker, Kaira (2019).
Kaira's childhood friend Shawa moved as a young widow with two sons to her present home in search of good land. Here she met Garombe and had four more children. We get close to each family member in scenes of daily life, starting with children milking cows at dawn. After taking grain by donkey to a distant flourmill, Shawa and daughters brew beer, which the sons drink when plowing the field. We learn how Shawa trained oxen to plow, and Garombe explains digging-stick cultivation is a thing of the past. He repairs the fence around his enclosure for plow-oxen and future fields. One son checks his beehive, cattle return home, children milk goats, and Shawa and girls prepare the evening meal.
Ballad on the Shore. Ma, Chi-hang (2017).
On the small isle of Tap Mun, the ocean breeze gently lifts up strands of grey hair on Lai Lin-shau’s head. He quietly sings in the characteristic tones of the fisherman’s ballads. Seemingly without rules, the pitch and tones alternate and repeat themselves as if they were synchronising with the ocean waves. Lai is one of the few people alive who knows the fisherman’s ballads intimately. None of his children experienced the harsh and unforgiving life at sea. They are not even aware of his priceless knowledge of the ballads. As the fishing community shrinks, old fishermen found new ways of life on land. One performs and teaches the ballads to young children; another uses the ballads to spread her Christian faith. The ballads have become a spiritual harbour for these landed fishermen. But deaths come brutally. Lai loses his listeners and his memory of the ballads. A precious part of him is dying.
The child's eye. MacDougall, David (2018).
The Child's Eye is the result of a five-year project conducted by David MacDougall that encouraged Indian children to explore their surroundings using video cameras. In six workshops held in different locations across India, children became active contributors in creating new knowledge, often on subjects they knew better than adults. Through the children's interests and keen observation, these films give us a unique child's-eye perspective on important aspects of modern Indian society. The workshops ran for 6 to 12 weeks each and involved children aged from 10 to 13. They came from a variety of class and religious backgrounds in both rural and urban locations, from New Delhi to Rajasthan, Kolkata to Ladakh. Organised as research projects, the workshops encouraged children to choose topics they considered important in their own families or communities. After several weeks of basic instruction in using video cameras, they began using them to explore their chosen topics, producing 24 films from which the 12 on this DVD were selected. The project offered the children a chance to investigate subjects that are often known only from an adult perspective, a remit they embraced with enthusiasm.
Even asteroids are not alone: an intergalactic ethnography. Magnússon, Jón Bjarki (2018).
Eve Online is a computer game in which players mine, trade and fight their way through computer-generated galaxies. Whilst computer game aficionados are often depicted as isolated, this game is deeply social: it is a "massive multiplayer game" that brings thousands of people together. Against the backdrop of the virtual gameworld, we hear the experiences of fourteen players from around the globe, told in their own voices. A warm testament to a community of trust forged in a virtual world far from our own.
Dancing grass: harvesting teff in the Tigrean highlands. Mitiku Gabrehiwot (2020).
Captures the communal harvesting of teff among Tigreans of Northern Ethiopia. Teff, an ancient indigenous grain, is central to the livelihood of smallholder farmers and may be called the 'cereal core' of Ethiopian national food identity. A local elder provides the commentary for the sequence of events that unfold in the homestead, fields and neighbourhood of the author's eldest brother and family: the cutting of the 'dancing grass'; the drying and stacking; the threshing and winnowing; then the sale of teff in the local market; off with a donkey to the mill; cooking enjera for family and guests; coffee drinking and blessing; and finally the Mesqel fire, an Orthodox Christian celebration at the end of the rainy season.
Night cries: A rural tragedy. Moffatt, Tracey (2007).
A fictional story in which a middle-aged Aboriginal woman resents the responsibility of caring for her old white mother. Her memories and dreams invade her routine until the old woman's mortality fuels the daughter's guilt and loss. Filmed entirely in a studio, with vibrantly colored sets and extremely creative use of ambient sound.
Nice coloured girls. Moffatt, Tracey (2009).
In this film excerpts from 16th century sailor's journals concerning sexual exploitation of native Australian women are transposed over current day scenes of prostitution trade among aboriginal native women.
A delicate weave. Monteiro, Anjali; Jayasankar, K. P. (2020).
A fascinating tapestry of four different musical journeys across Gujarat, India: we meet a group of men in Bhujodi who meet every night to sing the verses of 15th-century Indian mystic and poet Kabir; feisty women from Lakhpat, who quietly subvert gender roles through their music performances; Noor Mohammad Sodha, who plays and teaches exquisite flute music; and Jiant Khan and his disciples, whose love for the Sufi poet Bhitai is expressed through the ethereal form of Waee singing.
Atieno. Ndinya, June (2018).
Atieno is a collaborative fiction film scripted, acted and directed by DreamGirls, a group of adolescent girls and young women from Nairobi and Kisumu. The film tells of Atieno, a 16 year old girl from a sleepy fishing village. Family circumstances force her to go work for her aunt Bertha in Nairobi and send money home. In Nairobi, Atieno discovers that the job aunt Bertha has for her is working at a bar, where she gets harassed by the clients. She has a big fight with Bertha and moves out. She eventually does odd jobs for a living before she sets up a small business with her friends. The film is used by the organisation Community Media Trust as an educational outreach tool to facilitate discussions about HIV, transactional sex, and entrepreneurship. With the help of a facilitation guide, the audience is asked to discuss the film's open ended finale and to imagine how the characters will develop.
[Note: This film is available to Emory users for 3 years starting Fall 2021. If you are planning course integration for this film, please contact the Anthropology Librarian to ensure access]
Idealists thrive on the notion that a single person can change the world-but what basis does it have in reality? Is there room for it in an age of oppression and unrepentant brutality? This film profiles six people from different cultures and religions who, through small nonviolent actions, helped to overcome injustice. Ashin Kovida, a Buddhist monk now living in the U.S., reflects on his leadership of anti-government protests in Myanmar, formerly Burma. Maria Jesus Sanhueza, a young Chilean woman, describes her role in the Penguin Revolution which brought about government funding for education. And Christian Fuhrer, former pastor of the St. Nicholas Church in Leipzig, Germany, recounts the Monday Demonstrations and "Prayers for Peace" that led to the fall of the Berlin Wall. Equally compelling are former Olympian and Black Power advocate John Carlos, a young Chinese man called Nic who represents the fight against Internet censorship, and an Iraqi girl named Rania Ibrahim whose life was nearly cut short by a suicide vest.
This is my face (Esta es mi cara). Pino, Angélica Cabezas (2018).
In Chile, people living with HIV fear stigma, and they often conceal their condition and remain silent about what they are going through. This is My Face explores what happens when a range of men living with the virus open up about the illness that changed their life trajectories. It follows a creative process whereby they produce photographic portraits that represent their (often painful) memories and feelings, a process which helps them challenge years of silence, shame, and misrepresentation. A lesson in the power of collaborative storytelling.
Gather. Rawal, Sanjay (2020).
Gather is an intimate portrait of the growing movement amongst Native Americans to reclaim their spiritual, political and cultural identities through food sovereignty, while battling the trauma of centuries of genocide. Gather follows Nephi Craig, a chef from the White Mountain Apache Nation (Arizona), opening an indigenous café as a nutritional recovery clinic; Elsie Dubray, a young scientist from the Cheyenne River Sioux Nation (South Dakota), conducting landmark studies on bison; and the Ancestral Guard, a group of environmental activists from the Yurok Nation (Northern California), trying to save the Klamath river.
Wási. Ruíz, Sebastián Gómez; Chapparo, Amado Villafaña (2017).
As the sun rises on a village in northern Colombia, we glimpse its inhabitants as they begin their day. As the scene emerges from obscurity, a voiceover ruminates on the nature of sight. It is the voice of Arhuaco filmmaker Amado Vilafaña Chaparro, the co-director of Wási. He shares his thoughts on anthropologists like Gerardo Reichel-Dolmatoff and Robert Gardner, and the (mis)representations they produce. Ultimately he, and this film, affirm the power indigenous people can seize by taking up the camera themselves - becoming authors of their image and, so, authors of knowledge.
Welcome Valentine. Satija, Dhruv (2017).
In a temple dedicated to Hanuman in Ahmedabad, Gujarat, a priest flouts convention by marrying couples who are shunned elsewhere: mostly those who have eloped from families who disapprove of their union, but also, even more controversially, same-sex couples. A portrait of a staggeringly progressive and liberal institution, that counters the conservatism and orthodoxy found elsewhere in India’s religious communities.
The Women Weavers of Assam. Sharma, Aparna (2019).
The Women Weavers of Assam focuses on the craft, labour and the everyday lives of a group of women weavers in India’s northeastern state of Assam. The weavers belong to a non-profit collective called Tezpur District Mahila Samiti (TDMS), which was founded a century ago by women activists and Gandhian freedom fighters of Assam. The TDMS weavers preserve traditional motifs and methods of Assamese weaving, which have been declining since the introduction of mechanized cloth production in India. Montages of weaving blend with the weavers' accounts of their personal experiences, generating an evocative representation of the environment and the rhythms of TDMS, and the cultural significance of hand-weaving as a craft and industry in Assam.
Tie dao = The iron ministry. Sniadecki, J. P. (2018).
Traces the vast interiors of China on the move: flesh and metal, clangs and squeals, light and dark, language and gesture. Scores of rail journeys come together into one, capturing the thrills and anxieties of social and technological transformation. The film immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world's largest railway network.
Abraham and Sarah: Creators of a Productive Landscape. Strecker, Ivo (2017).
In the highlands of Tigray - northern Ethiopia - on the edge of the escarpment that descends steeply to the Danakil dessert, Hagos Mashisho and Desta Gidey have toiled and struggled for years to turn the rugged slopes of the East African Rift Valley into fertile ground. They have grown crops here not only to feed themselves and their family, but also to share with others, in particular the pilgrims who regularly pass by on their way to the monastery of Gundagundo. Touched by the kindness of their hosts, the pilgrims have given them the biblical names "Abraham" and "Sarah". The film explores the work ethos and grace of these Tigrean farmers: the cheerful mood with which they do what needs to be done; the devotedness to the tasks at hand; the coordinated movements of humans and animals as they work when ploughing, sowing, harvesting, threshing; - and finally those moments of invocation when the dependence on nature and the transcendent are acknowledged. "Abraham & Sarah" is the first film in a series entitled "Guardians of productive landscapes" currently produced under the auspices of the Department of Integration and Conflict at the Max Planck Institute for Social Anthropology, Halle/Saale, Germany. It can be seen as a contribution to an applied anthropology that tunes in with the rising awareness that rapidly increasing environmental degradation threatens the earth. Humanity is at the crossroads where life as we know it will soon collapse unless we muster all our ingenuity for inward and outward persuasion to find ways to overcome the current crisis.
Donna Haraway: story telling for earthly survival. Terranova, Fabrizio (2018).
[Note: This film is available to Emory users for 3 years starting Fall 2021. If you are planning course integration for this film, please contact the Anthropology Librarian to ensure access]
Features feminist thinker Donna Haraway in a playful and engaging exploration of her life, influences, and ideas. Best-known for her ground breaking work on gender, cyborgs, animals, and post-colonialism, Haraway is a passionate and discursive storyteller. The film is structured around a series of discussions on subjects including capitalism and the environment, science fiction as philosophy, the role of Catholicism in her upbringing, and the need for new post-colonial and post-patriarchal narratives.
Green bush. Thornton, Warwick (2014).
Every night, Indigenous radio announcer and DJ, Kenny, hosts the Green Bush show for Aboriginal communities. Isolated at the station, he takes requests for music, while at the same time coping with the pressure of the community around him. Based on his own experiences as a radio DJ in Alice Springs in central Australia, Warwick Thornton (later director of the award-winning feature, Samson and Delilah) made an international impact with this graceful and powerful short drama. At one level, the film explores the role of the media in Aboriginal communities where the radio station serves as both a physical gathering-place as well as providing a musical and verbal bond that connects disparate segments of the community. But through the story of Kenny, played by David Page, the film also comments quietly and effectively on concepts of manhood, leadership and community responsibility.
Rosalie's journey. Thornton, Warwick (2014).
Rosalie (Ngarla) Kunoth-Monks reflects on her childhood, growing up in the Utopia area in central Australia, and then at school at St Mary's in Alice Springs where she learnt English and went to Church. Despite her schooling, Rosalie retained fluency in her own language and maintained close ties to her country. When Charles and Elsa Chauvel came to Alice Springs looking for someone to play Jedda, they screen-tested many young women before settling on Rosalie. At that time, Rosalie had seen only one film, Joan of Arc, and had little awareness of what film-making involved. She talks frankly about her embarrassment in acting in scenes with a male actor, Robert Tudawali, and how her on-screen interaction with him conflicted with her traditional law. After Jedda, Rosalie withdrew from the film world and the public gaze, and went to Melbourne for several years, married and had children, before returning to live in Utopia.
Tnorala - baby falling. Thornton, Warwick (2014).
Tnorala is the Aboriginal name for Gosse's Bluff, a dramatic meteorite impact crater set in a vast plain 175km west of Alice Springs. This significant dreaming site for Western Arrernte people is steeped in mystery and tragedy. The story of its creation and the events that occurred there are narrated to the camera by Aunty Mavis Malbunka, one of the traditional story-tellers for the place. Legend says that while stars danced in the Milky Way, a child fell to earth and was lost to its parents, the morning and evening stars, who still search for their baby to this day. Today, ancestors of Tnorala's traditional owners are remembered and honoured by their descendants and visitors that are drawn to this stunning and eerie landscape. The film is another fine example of the outstanding documentaries that Warwick Thornton made for CAAMA before he went on to win international acclaim for this first feature, Samson and Delilah in 2009. His haunting cinematography of the awe-inspiring landscapes in and around Tnorala, together with a moody impressionistic music score, make this a remarkable and memorable film.
Sweet country. Thornton, Warwick (2019).
Sam, a middle-aged Aboriginal man, works for a preacher in the outback of Australia's Northern Territory. When Harry, a bitter war veteran, moves into a neighbouring outpost, the preacher sends Sam and his family to help Harry renovate his cattle yards. But Sam's relationship with the cruel and ill-tempered Harry quickly deteriorates, culminating in a violent shootout in which Sam kills Harry in self-defence. As a result, Sam becomes a wanted criminal for the murder of a white man, and is forced to flee with his wife across the deadly outback, through glorious but harsh desert country. A hunting party led by the local lawman Sergeant Fletcher is formed to track Sam down. But as the true details of the killing start to surface, the community begins to question whether justice is really being served.
We don't need a map. Thornton, Warwick (2019).
The Southern Cross is the most famous constellation in the southern hemisphere. Ever since colonization it's been claimed, appropriated, and hotly-contested for ownership by a range of Australian groups. But for Aboriginal people, the meaning of this heavenly body is deeply spiritual. For them, the Southern Cross isn't a cross--it's a totem that's deeply woven into their spiritual and practical lives.
Burning daylight. Thornton, Warwick; Swain, Rachael (2015).
Burning Daylight is a dance/film project. The performance is set from late one night until dawn in a transit zone outside a notorious pub on a Broome-style Karaoke night. A series of contemporary dance scenes unfold expressing the friction, local humour and cultural collision in the streets at night in the part of Broome known as 'The Bronx'. Conceived by Dalisa Pigram and Rachael Swain., Follows the collaboration between Indigenous dancer and choreographer Dalisa Pigram and contemporary choreographer Serge Aime Coulibaly from Burkina Faso, West Africa, in the stage production of Burning Daylight.
Kalès. van Lancker, Laurent (2017).
A film of wind and despair, of fire and solidarity, of hope and hell. An intimate and inside perspective of the 'jungle' of Calais evoked through a polyphony of bodies, tales, and atmospheres. So familiar to us from news reports, van Lancker helps us see the "jungle" anew, providing an immersive, sensory journey through the social life and survival strategies of migrants. Shot on numerous visits during the entire duration of the 'jungle’s' existence, and often using a collaborative methodology - images and narrations are partly produced by the migrants - Kalès is a film that is both poetic and political; it is a visceral document to the everyday life of migrants, and their capacity for creating new social network and for adaptation.
Breaking the yard. Werbner, Richard (2018).
The film tells an intimate story of change from generation to generation in family life. It illuminates a murky impasse between families, when villagers, taking sides, tell the truth as many different truths or whisper with threats of scandal. It was shot in Botswana’s Moremi village with its awesome landscapes during the dramatic national patriotic celebration for Botswana’s 50th anniversary in 2016. The focus is on John, a church minister and a leading village elder, trained in settling disputes in the South African mines. John gets entangled in the troubled affairs of a quarrelsome young couple, a stay-at-home farmer and his police constable, town-savvy wife. They claim to be still in love. But when the husband confesses to adultery – ‘breaking the yard’ in Tswana terms – and the wife decides to fight for her rights in court, John finds himself in an awkward position. Even with his own bishop, he struggles to reach a good resolution. This remains uncertain, as arguments in the village’s customary court turn from adultery issues to putting his and other elders’ care for the couple into question.
Terror and hope: The science of resilience. Bourke, Ron (2020).
A story about children and war. It's about stress so severe and prolonged it can become toxic. It's about scientists and humanitarians working to provide hope in what can seem like a pretty hopeless world. And it's the story of courageous Syrian families raising their children in the face of violence and oppression - their past defined by terror, their future driven by hope.
Remittance. Daly, Patrick; Fendelman, Joel (2017).
Not unlike other domestic workers, Marie leaves behind her children and unemployed husband for Singapore in hopes of earning sufficient savings to eventually open a business in the Philippines. Yet, one hurdle after another confronts her including the deduction of eight months of her wages to cover the entire cost of her migration to Singapore and the squandering of her earnings by a womanizing husband.
Bending the arc. Davidson, Kief; Kos, Pedro (2017).
"A powerful documentary about the extraordinary team of doctors and activists - including Paul Farmer, Jim Yong Kim, and Ophelia Dahl - whose work thirty years ago to save lives in a rural Haitian village grew into a global battle in the halls of power for the right to health for all. Epic, yet intimate, the film is a compelling argument for the power of collective and personal vision and will to turn the tide of history." - http://edu.tugg.com/products/bending-the-arc.
Narritjin in Canberra. Dunlop, Ian (2018).
In 1978 Narritjin Maymuru and his son Banapana were awarded fellowships as Visiting Artists to the Faculty of Arts at the Australian National University in Canberra. For three months they and their families worked in their campus studio. In the film, Narritjin conducts a seminar for anthropology students. He explains his technique of bark painting and discusses some of the meanings behind the paintings. At the end of their stay in Canberra, Narritjin and Banapana hold an exhibition of their Manggalili art. Some see the official opening as typical of any art gallery opening night; others may feel a certain ambivalence towards this strange cultural mix. However, for Narritjin, the occasion is simply another opportunity to present his message to a non-Indigenous audience. Furthermore, the exhibition itself establishes him and his son as significant artists within a wider Australian context.
Tigmmi n igran. Hadid, Tala (2018).
"House in the Fields examines the life of an isolated rural Amazigh community in the southwest region of the High Atlas Mountains. The thousand-year history of the Amazigh in Morocco has been, for the most part, recounted, preserved and transmitted by bards and storytellers in oral form among Tamazighi-speaking pastoral communities. Continuing this tradition of transmission in an audiovisual form, House in the Fields attempts to faithfully document and present a portrait of a village and community that has remained unchanged for hundreds of years despite being confronted by the rapidly changing sociopolitical realities of the country at large. The film follows the lives of certain villagers, most specifically two teenage sisters, one who must give up school to prepare for her wedding, and the other, who dreams of being a judge"--Container.
Crossing the line. Harrison, Kaye (2014).
Crossing the Line follows two young medical students from the University of Tasmania, Amy and Paul, as they leave their safe middle class environments for an eight week placement in the remote indigenous communities on Mornington Island. Here, for the first time, they confront the realities of indigenous health care. As they move beyond their professional roles at times, there is an ongoing tension between their personal experience and the professional distance they are supposed to maintain. This film offers a rare insight into the practical realities of providing Western medical services to indigenous communities and illustrates ways in which engagement can contribute to an improvement in the crisis in Aboriginal health today.
Measures of distance. Hatoum, Mona (1988).
Letters from a Palestinian woman living in war-torn Lebanon to her daughter, whom she has not seen for years, and a series of photographs of the woman, convey the effects of war and exile on personal and cultural life, and nuances of family relationships.
The price of everything. Kahn, Nathaniel (2017).
Exploring the labyrinth of the contemporary art world, the film examines the role of art and artistic passion in today's money-driven, consumer-based society. Featuring collectors, dealers, auctioneers and a rich range of artists, from current market darlings Jeff Koons, Gerhard Richter and Njideka Akunyili Crosby, to one-time art star Larry Poons, the film exposes deep contradictions as it holds a mirror up to contemporary values and times, coaxing out the dynamics at play in pricing the priceless.
Sons of Namatjira. Levy, Curtis (2014).
Sons of Namatjira examines the relationship between a community of Aboriginal artists and the outside world. Keith Namatjira is the son of the celebrated artist Albert Namatjira, and emulates his father's distinctive style. He lives with his family in the same camp that his father had established on the outskirts of Alice Springs in Central Australia. One of Curtis Levy's finest documentaries, Sons of Namatjira, follows Keith and his wife, Isabel, and other relatives, in their interactions with the wider world including art galleries in town and bus-loads of middle-aged tourists from the big cities. The film highlights communication difficulties between black and white, and in Levy's terms, becomes a parable of black-white relations in Australia. Tourists and dealers drive out to the artists' camp to bargain with the artists in person. Keith feels pressured to accept their offers but dreams that one day he will own his own gallery, so that his family can make a decent living from their work. In addition, Keith has other pressures: he has to go to court on a charge of drink-driving, whilst at the same time working with a legal-aid officer on a claim for the land they are living on. He and his family are worried that their land will be swamped by the urban development they can see closing in around them. This sympathetic portrait of a tiny community of Aboriginal artists is rich in Levy's characteristic humour and sense of irony. It was the last of Levy's films for AIAS before he returned to independent production, and remains one of the Film Unit's most widely seen works.
Angels are made of light. Longley, James (2018).
A dozen years after his Oscar-nominated Iraq in Fragments, American documentarian James Longley delivers a sweeping, profoundly compassionate group portrait of Afghan students and teachers still weathering national turbulence.The film follows students and teachers at a school in an old neighborhood of Kabul that is slowly rebuilding from past conflicts. Interweaving the modern history of Afghanistan with present-day portraits, the film offers an intimate and nuanced vision of a society living in the shadow of war.
Putuparri and the rainmakers. Ma, Nicole (2015).
A documentary about an Aboriginal man living in Fitzroy Crossing in Western Australia that maps out his ancestors' spiritual connection to the land and his family's continuing custodianship of it.
Familiar places. MacDougall, David (2000).
Follows the efforts of a group of Australian Aborigines and the anthropologist Peter Sutton as they map the traditional lands of an Aboriginal family that wishes to return to its homeland in northern Queensland, Australia. Explains the politics of this Aboriginal movement of re-homestead old territorial lands (called "outstations"), and illustrates many of the problems faced by the returning natives.
The house-opening. MacDougall, Judith; MacDougall, David (2011).
The house opening ceremony is a ritual purification following the death of an inhabitant. This film follows Geraldine Kawengka, widow of a recently deceased man, as the ceremony is prepared and carried out on the Aboriginal settlement of Aurukun.
Takeover. MacDougall, Judith; MacDougall, David (2012).
Presents an insider's view of events that followed an announcement made without warning on March 13, 1978, that the Queensland state government was taking over control of the Aboriginal community of Aurukun in the north of the State, displacing the Uniting Church which had managed the Aboriginal Reserve for 70 years. At the request of the community, filmmakers David and Judith MacDougall documented the events of the following weeks, as the community marshalled its supporters to resist the takeover, and a stream of lawyers, politicians, Church officials, government advisers and representatives of mainstream media arrived to talk with the Aboriginal Council and the community at large. Ostensibly driven by a desire to access the mineral wealth in the Aurukun area, the state government was resistant to modifying its position, but intervention from the Federal government forced a sequence of compromises, though not always with the community's knowledge or to their satisfaction., One of the major works produced by the AIAS Film Unit, this documentary observes the profound effect on an Aboriginal community of political and bureaucratic decisions made far away. Although specific to time and place, the film is timeless and universal in its observations of a conflict between an Indigenous minority and a powerful government.
Mahasona: The great cemetery demon documentary. Machin, Barrie (2019).
Exorcism in Sri Lanka (4:30); Mahasona Ritual Preparations (3:15); Invoking Buddha and Guardian Gods, Offerings to Ghosts (1:14); Healing Gestures (1:08); Invoking the Suniyam Demigod (1:05); Invocation Dances, Other Offerings, and Appeals to the Demons (3:12); Caralava (4:06); Head to Foot Poem (3:25); Death Time (1:53); Symbolic Sacrifice to Riri Yaka (3:31); Gathering Time Dance of Mahasona (3:06); Demonic Transformation and Possession (3:52); Midnight Watch: Enter Mahasona (6:06); Double Torch Presentation and Possession (6:07); Further Offerings and Appeals to the Demons (1:18); Poems and Procession to the God Mangara (5:13); The Appearance of the Hunter of Demons (1:44); Dahaata Sanniya the Appearance of the 18 Sanni Demons (4:41); Humor for Healing (9:58); Double Torch Presentation of the Demon (2:26); Mahasona Baliya Final Purification of the Patient, Last Homage to Buddha and the Guardian Gods (4:44); Credits: Mahasona: The Great Cemetery Demon Documentary (0:38);
Artists of Ali Curung. Nardoo, Robyn; Mulcahy, Shane (2015).
Opened in 2008, the Arlpwe Arts Centre and Gallery, in the town of Ali Curung, 350 km north of Alice Springs, provides a focus for the work of a diverse range of Indigenous artists. Artists such as Anita Dickson, May Nampijinpa Wilson, Judy Nampijinpa Long, Valerie Nakamarra Nelson and artefact maker Joe Bird, talk about their work as an expression of their link to their Country. Their art also represents a means whereby they can teach younger people in their community about Country, and also take their stories to a wider public. This delightful film shows the work of these artists, as they talk about their aspirations, intermingled with the dancing and ceremonies that marked the opening of the Arts Centre.
Graves without a name. Panh, Rithy (2020).
After The Missing Picture, Rithy Panh continues his personal and spiritual exploration of Cambodia's Khmer Rouge era. His earlier films, S21: The Khmer Rouge Killing Machine and Duch: Master of the Forges of Hell, analyzed the mechanisms of the crime. Graves Without a Name searches for a path to peace. When a thirteen-year-old child, who lost the greater part of his family under the Khmer Rouge, embarks on a search for their graves, whether clay or on spiritual ground, what does he find there? And above all, what is he looking for? Spectral trees? Villages defaced beyond recognition? Witnesses who are reluctant to speak? The ethereal touch of a brother or sister's body as the night approaches? Graves Without a Name is a cinematic movie by a master filmmaker that reaches well beyond the story of a country to that which is universal.
Fish Tail (Rabo de Peixe). Pinto, Joaquim; Leonel, Nuno (2016).
"Rabo de Peixe (literally translated as 'fish tail') is the name of a village in the Azores that is home to the largest collection of artisanal fisheries on the whole archipelago. The residents, mostly local fishermen and their families, have relied on these waters for generations. In recent years however, global industrial overfishing has created significant problems, throwing their livelihood into uncertainty and threatening to wipe out a centuries-old profession."--Container.
Balkan rhapsodies: 78 measures of war. Silva, Jeff (2008).
Balkan Rhapsodies is an episodic documentary poem that interweaves a mosaic of encounters, observations, and reflections from Silva's travels throughout war-torn Serbia and Kosovo between 1999-2005. An American filmmaker and ethnographer, Jeff Daniel Silva, was the first US civilian allowed entry into a devastated Serbia in 1999 just days after the NATO bombings. By immersing himself intimately into the lives of people he meets, the film grapples with the inexplicable contradictions he encounters while digging deeper in search for comprehension.
Manakamana. Spray, Stephanie A.; Velez, Pacho (2013).
"Filmed entirely inside the narrow confines of a cable car, high above a jungle in Nepal that transports villagers to an ancient mountaintop temple, [Manakamana] is an acute ethnographic investigation into culture, religion, technology and modernity ... For centuries, devoted pilgrims hoping to reach the fabled temple needed to undertake an arduous multi-day journey. Today, because of a new cable car system, the entire trip takes just under 10 minutes ... [The film] opens a rich and vibrant window onto this world over the course of eleven such rides. Each is composed of a fixed shot, lasting between 9 and 10 minutes ... With every sequence, we are introduced to new passengers: an elderly man and his grandson, a trio of teenage rockers, a married couple, a mother and daughter, three wives. Through their shared conversations, anecdotes, observations about the surrounding landscape, and even their silence, a detailed picture of their lives emerges; a story about history, tradition, and change"--Container.
The hottest August. Story, Brett (2019).
New York City, including its outer boroughs, during August 2017: it's a month heavy with the tension of a new President, growing anxiety over everything from rising rents to marching white nationalists, and unrelenting news of either wildfires or hurricanes on every coast. The film pivots on the question of futurity: what does the future look like from where we are standing? And what if we are not all standing in the same place? The Hottest Society is on the verge of catastrophe, with anxieties, distractions, and survival strategies preoccupying ordinary lives.
Two laws [an Aboriginal struggle for land and law]. Strachan, Carolyn; Cavadini, Alessandro (2007).
An Aboriginal community from the remote Northern Territory of Australia tells the story of their people through their eyes and their struggle for the recognition of Aboriginal law.
Bad Friday: Rastafari after Coral Gardens. Thomas, Deborah A.; Jackson, John L. (2011).
"Bad Friday focuses on a community of Rastafarians in western Jamaica who annually commemorate the 1963 Coral Gardens 'incident,' a moment just after independence when the Jamaican government rounded up, jailed and tortured hundreds of Rastafarians. It chronicles the history of violence in Jamaica through the eyes of its most iconic community, and shows how people use their recollections of past traumas to imagine new possibilities for a collective future."--Container.
The early works of Ana Vaz: 2007-2016. Vaz, Ana (2020).
Amérika : Bahía de las flechas / um filme de Ana Vaz ; produzido por Olivier Marboeuf ; uma produção, Spectre Productions. (2016 ; 8:51) -- Há terra! = There is land! (2016, 13 min.) -- A film, reclaimed / in collaboration with Tristan Bera. (2015 ; 20 min.) -- Occidente (2014 ; 15 min.) -- A idade da pedra = The age of stone (2013 ; 29 min.) -- Les mains, négatives / in collaboration with Julien Creuzet. (2012 ; 15 min.) -- Entre temps (2012 ; 11 min.) -- Sacris pulso (2007 ; 15 min.).
Every pulse of the heart is work. Wojtasik, Paweł (2020).
Filming largely in India's ancient holy city of Varanasi, Pawel Wojtasik has created a hypnotic study of people at work--a street beggar, a surgeon, a weaver, a priest, a masseur, a tabla drum maker, and a crane operator: people who in their intense concentration and ritualized movements evoke the idea of human labor as an act of spiritual devotion and social interdependence.
How to rust. Yezbick, Julia; Dabls, Olayami; Center, Harvard University Film Study; Guild, Cinema (2016).
A postindustrial fable told in iron, rocks, and wood. Detroit artist Olayami Dabls' installation "Iron Teaching Rocks How to Rust" is a metaphor for the forced assimilation of Africans to European culture and language. Here Dabls' bricolage of the postindustrial landscape becomes a commentary on the half-life of Fordism, where the relationship between cultural production, history, and place is recast, revealing larger truths about how we mythologize a former glory and shape an imagined future.
Into the hinterlands. Yezbick, Julia; Castaing-Taylor, Lucien; Baggett, Barney; Bielby, Liza; Newman, Richard; Lab, Harvard University Sensory Ethnography; Guild, Cinema (2018).
The Hinterlands, a Detroit-based performance ensemble, practice a form of ecstatic training which they see as a provocation towards the unknown -- a space both physical and imaginary. Their practice is one of ecstatic play, of finding the edge of one's balance, and the limits of one's body. Continually looking for new ways to "see" with the camera (shooting with her feet, shoulder, and neck), Yezbick's embodied camera immerses the viewer in the collective ecstatic experience, merging the space of their ludic play with the liminal space of the cinema.
Caught-in-between. Werbner, Richard P.; Lelatlhego, John; Research, International Centre for Contemporary Cultural; Ireland, Royal Anthropological Institute of Great Britain (2016).
Shot in 2016 in Botswana's Moremi village with its awesome landscapes, this film is mainly about a leading village elder, John Lelatlhego and his entanglement in the troubles of a young quarrelsome couple. John was an illiterate teenager in the 1970's, when he first went to work underground in the South African mines. Now computer literate, and retired, since 2014, as a Human Resources Administrator, John is the Little Chief or head of his part of Moremi, a minister of the African Baptist Full Gospel Church, the patriarch of an extended family, a big farmer, and a much sought after go-between in family and marital negotiations. The public roles John now plays, with his fine, trained sense of hierarchy in administration, entangle him in murky yet scandalous affairs. He gets caught in conflicting loyalties, bitterly dividing families, his bishop's and his cousin's. The film follows the testing of botsadi parenthood and the give-and-take between generations on very different occasions from the great and national patriotic celebration for Botswana's 50th anniversary, to intimate moments of gossip, church preaching and court hearings.
Untitled. Spray, Stephanie A. (2014).
A revealing one-shot portrait of two Nepali newlyweds in a moment of rest and playful interaction, Stephanie Spray's Untitled challenges our perception of two themes at the very core of ethnographic filmmaking: human relationships and the ways in which they can be experienced by the viewer. Only fourteen minutes long, Untitled is uncut, rejecting the implications of edited sequences and also purposefully excluding subtitles over the couple's conversation. The style of the film confronts the history of ethnography as a controversial study of the 'other' by refusing us any clear messages or meanings behind what is being presented, challenging the viewer to come up with their own answers to any questions that may arise.
Monsoon-reflections. Spray, Stephanie A. (2010).
Drawing its title from a poem by the Nepali poet Lekhnath Paudyal, who depicts the monsoon season as sublime and blissful, this video focuses instead on the melancholy and grit of two female Nepali field hands as they carry out their monsoon routines in Lekhnath, Nepal. It is a sensorial riposte to Paudyal's idealistic depiction of the monsoon as 'joyous from start to finish,' by means of reflections upon labor, gender, and fleeting pleasure in rural Nepal.
Kāle and Kāle. Spray, Stephanie A. (2010).
Kāle and Kāle portrays the subtle everyday interactions and relationships between an uncle and nephew, both nicknamed Kāle (pronounced kah-lay), and their families in rural Nepal.Rather than adopt a conventional ethnographic approach, which might depict these individuals as representatives of a particular caste--in this case as itinerant musicians known as the Gāine--this piece aims to move beyond the didacticism that often informs documentary film by providing glimpses into the local lifeworlds these individuals inhabit. The roles they play within their families, in village society, and in neighboring communities are slowly disclosed through a series of discrete vignettes. Through the careful pacing of the scenes and the length of individual shots, this video also explores the experience of time and its passing in rural Nepal. The work invites the viewer to engage unhurriedly and sensorially with its subjects and their environment.
Songhua. Sniadecki, J. P.; Lab, Harvard University Sensory Ethnography; Resources, Documentary Educational (2010).
The Songhua River runs through Harbin in northeastern China and serves as the city's main water source. By attending to the everyday activities of leisure and labor unfolding along the banks and promenade, Songhua depicts the intimate and complex relationship between Harbin city residents and their "mother river". Sniadecki's extended long takes observe everyday behavior balanced between tradition and a rapidly changing present, even as the film itself, with its balance of carefully composed shots and handheld footage, explores the interface between art and ethnography.
Chai qian Demolition. Sniadecki, J. P. (2010).
A portrait of urban space, migrant labor, and ephemeral relationships in the center of Chengdu, the capital of Sichuan province in western China. Attending first to the formal dimensions of the transforming worksite - including the demands of physical labor and the relationship between human and machine - the film shifts focus to the social dynamics of a group of thirty men and women who have come from the countryside to work in this ever-changing urban landscape. In exploring the various banal yet striking interactions between these members of China's "floating population," the city's residents, and the filmmaker, Demolition simultaneously expresses and resists the fleeting nature of urban experience.
Linefork. Silva, Jeff; Rawlings, Vic; Sexton, Lee; Sexton, Opal; Lab, Harvard University Sensory Ethnography; Guild, Cinema (2016).
From the Sensory Ethnography Lab, Linefork is an immersive, meditative documentary that explores the daily rituals of Lee Sexton, a revered banjo legend, and his charming wife Opal. Lee is a living link to the deep past of American music - in 1959 he recorded for the landmark Smithsonian Folkways release Mountain Music of Kentucky. A retired coal miner now hampered by age and declining health, Lee continues to teach his distinctive two-finger banjo style to a new generation eager to preserve a vanishing cultural tradition. He and Opal farm the land where he has lived for the last 88 years as together they face the uncertainities of aging in place. An ethnomusicology of American folk music and a portrait of the human condition, Linefork documents the raw yet delicate music of a singular musician, linked to the past yet immediately present.
Amal's Garden. Shihab, Nadia; Lahib, Jaddo; Maamouri, Sara (2012).
Amal and Mustafa have shared a long life together in northern Iraq. When Amal decides to finally renovate their home after a decade of war, Mustafa retreats to the garden, where he encounters the curious gaze of his grandniece and her camera. An intimate snapshot of life at the boundary of destruction and renewal, AMAL'S GARDEN is the unexpected portrait of one Turkmen couple moving forward in a new Iraq, where, even in the stillness of night, life is blooming.
La laguna = Lagoon. Schock, Aaron; Bassett, Johnny; Goodman, Joel; Valenzuela Solórzano, Yu'uk Felix; Valenzuela Solórzano, José; Films, Hecho a. Mano; Guild, Cinema (2016).
Originally produced as a motion picture in 2016. A portrait of a childhood on the margins of society in Metzabok, southern Mexico. While Yu'uk and his younger brother José enjoy a childhood of uncommon freedom in the rainforests, Yu'uk's Mayan family's problems begin to mount and leaving his village, and his beloved little brother, may be his family's only hope.
Blocul = The block. Şalaru, Maria; Bud, Gheorghe; Ireland, Royal Anthropological Institute of Great Britain (2017).
From neighbourly disputes over garlic-heavy cooking to memories of Ceaușescu's heatless winters, the film explores the rich social and material universe of a Romanian apartment building block known as H2B Block Piatra Neamț. It follows the story of the block's administrator, in his effort to mediate relationships between neighbours and maintain peace and order. In doing so, it crayons the rich nuances of the inhabitants' everyday lives. The block comes to life as its inhabitants constantly reshape it to defy the passing of time, while its failing infrastructure encroaches on their neighbourly relations. This is a film about people's homes, and the spaces in between.
Ghosts of our forest. Roher, Daniel; Productions, Loud Roar; Guild, Cinema (2017).
In 1992, the indigenous pygmy Batwa people of Uganda were forcefully removed from their ancestral homes by the government to protect the endangered gorilla population. Left with no compensation or resettlement plans, most Batwa people now live in poverty, forced to make a living by guiding tourists through their old homes. With the Batwa population rapidly dwindling, 24-year-old Gad Semejeri starts the Batwa Music Club. By singing and dancing the spiritual and traditional songs that speak out against the injustices the tribe has endured, the band hopes to retain and reclaim their cultural heritage. Deftly weaving rapturous tales of traditional life from Batwa elders, stories of the Batwa Music Club's daily struggle for survival, and original songs performed by the band, Ghosts of Our Forest is a remarkably sensitive and intimate portrayal of a people whose physical connection to nature has been forcefully severed but remains alive through song and story.
Never far from home. Roher, Daniel; Dano, Joseph; Guild, Cinema (2015).
This simple vérité film takes viewers on a journey to the backwoods of Southern Georgia. In the sleepy town of Waycross lives a community of people who live quiet, happy lives. Colby and his friends are largely apathetic towards the ways of the world. The kids ride on four wheelers, hunt raccoons, and swap stories by firelight until dawn in the 'shanny' next to grandmas house. The kids are never far from home and live, like their grandfathers before them, out in the sticks with traditions routed in nature the forefront of their existences
Salero. Plunkett, Mike; Holmer, Anna Rose; Goldman, Andrew; Wiltzie, Adam; Educational, Ro*Co Films; Cinereach; Guild, Cinema (2015).
A rare and thorough look at the earth's largest salt flat, Bolivia's Salar de Uyuni, Salero is a poetic journey through the eyes of Moises Chambi Yucra, one of the last remaining salt gatherers. This secluded region is thrust into the future when Bolivia embarks on a plan to extract a precious mineral from the Salar and to build an infrastructure that will connect it to the modern world.
Tabom in Bahia. Pereira, Nilton; Diaz, Juan Diego; Morton, Eric Odwerkai; Ireland, Royal Anthropological Institute of Great Britain and (2017).
The Tabom is a Ghanaian community formed by descendants of African slaves who resettled from Brazil to Ghana almost two centuries ago. Tabom in Bahia follows Tabom master drummer Eric Morton on his travel from Ghana to Bahia in search of his Brazillian roots.
The last days of winter. Oskouei, Mehrdad; Films, DreamLab; Production, Oskouei Film; Guild, Cinema (2016).
Follows young teenage boys institutionalized into the Correctional Education Denter Shahreziba in Tehran, Iran. They have been convicted of stealing sheep and smuggling drugs. Their parents have left them abused and abandoned. The boys retain their playfulness and act as a band of brothers to each other. The film follows their day to day activities at the facility and also joins them on a holiday excursion to the Caspian Sea. With no walls around them, the boys become more open with the documentarian, detailing their plans of the future, family and love. But while the boys play in the sand and collect shells, the director captures in a breathtaking sequence their collective sadness and isolation.
It's always late for freedom. Oskouei, Mehrdad; Films, DreamLab; Films, Oskouei; Guild, Cinema (2016).
Acclaimed filmmaker Mehrdad Oskouei provides a rare glimpse into an all-male juvenile detention facility in Iran. These adolescent boys have committed crimes ranging from theft to drug smuggling to stabbing. But through Oskouei's masterful eye and gentle offscreen questioning, we learn that they are teenagers like any others-- teasing, playful, and in the throes of first love.
Híbridos. Moon, Vincent; Telmon, Priscilla; Abreu, Fernanda; Planètes, Petites; Filmes, Feever; Filmes, Samba; Guild, Cinema (2018).
From 4 years of research around Brazil, HÍBRIDOS, THE SPIRITS OF BRAZIL dives into the sacred culture of the largest country in South America through a very poetic and sensorial approach. As an exploration of trance-cinema, the film breaks down the distance between the viewer and the subject, guiding them trough a realm of movements, of non-stop dances, of music pulsating at high rhythms, creating in its core a new perspective about what might be the invisible and how we deal with it in a creative way. An ethnographic journey into the world of sacred ceremonies and their diversity, as well as a trip into cinema as a pure poetic language. Without any voices paving the way, only the sounds of the rituals and the chants of the devotees, Híbridos is a music film of a new kind.
Treasured moments. Lloyd, Ravi Hart; Lloyd, Akio; Merrill, Heather; University College, London Anthropology Department; Ireland, Royal Anthropological Institute of Great Britain (2016).
This is the personal story of a boy who grew up mixed in every aspect of his life, his parents, where he was from, his race. The black kid who thought that he was white. The white kid who thought that he was black. The director, Ravi Hart, narrates the film along with interviews with his family. The film begins with Ravi's love of boats. Born on the island of Anguilla, British West Indies, he grew up sailing and fishing. A catastrophic hurricane hits the island in 1995 and the family leaves for the United States. The film goes on to articulate the mixed race experience in the US through themes of identity, displacement, educational inequalities and police harassment.
Death row. Jackson, Bruce; Christian, Diane; Resources, Documentary Educational; Culture, State University of New York at Buffalo Center for Studies in American (2007).
Death Row" is a documentary filmed in 1979 by Bruce Jackson and Diane Christian illustrating life on cell block J in Ellis Unit of the Texas Department of Corrections. The film is available in the new book "In This Timeless Time," with photos from the experience and words that further reveals the world of Death Row prisoners and offers an unflinching commentary on the judicial system and the fates of the men they met on the Row.
Deep time. Hutton, Noah; Bery, Sara'o; Miller, Jesse; Films, Couple 3.; Guild, Cinema (2015).
A kaleidoscopic study of the recent oil boom in North Dakota, Deep Time is [a] documentary that focuses on the impact the fossil fuel business has on the environment and on how it affects local landowners, state officials and the Indigenous Mandan, Hidatsa and Arikara Nation. As Stanley, North Dakota, transforms from small-town America into one of the biggest centers of the oil boom, inhabitants face overwhelming challenges. Major spills occur almost every week, many unreported. With a significant influx of oil rig workers, the rental market explodes as demand for affordable housing skyrockets. Tensions escalate between newcomers and locals, as well as between workers who have been in the field for many years and workers who are taking their first oil job. The film focuses on Marty Youngbear, a member of the Mandan, Hidatsa, and Arikara Nation, whose lands generate millions of dollars' worth of crude oil every month. While the MHA's now-former chairman Tex Hall adopts a 'sovereignty by the barrel' approach to allowing the oilmen onto the lands, Youngbear is more concerned with preserving the integrity of his tribal culture and of the earth. The film follows him as he speaks at community meetings.
The Maribor uprisings. Guillén, Milton; Razsa, Maple; Kurnik, Andrej; Collective, Komunal Media; EnMasseFilms (2017).
In The Maribor Uprisings-- part film, part conversation, and part interactive experiment-- you are invited to participate in the protests over political corruption. Dramatic frontline footage from a video activist collective places you in Maribor as crowds surround and ransack City Hall under a hailstorm of tear gas canisters. As a viewer, you must decide collectively with your fellow audience members which cameras you will follow and therefore how the screening will unfold. Like those who joined the actual uprisings, you will be faced with the choice of joining non-violent protests or following rowdy crowds towards City Hall and greater conflict.
Into the field. Grossman, Alyssa; Smith, Putnam; Centre, University of Manchester Media; Anthropology, Granada Centre for Visual; Resources, Documentary Educational (2007).
This film examines the everyday secular lives of nuns residing in the Romanian Orthodox monastery of Varatec. The majority of the 450 members of this monastery live as small groups in private houses, much like regular villagers, rather than inside the walls of the communal abbey. Throughout the year, they integrate their duties at home with their religious responsibilities to their community and to the church. By visually exploring the social aesthetics of the monastery, the film depicts certain aspects of the nuns' everyday, lived experiences. Instead of exclusively focusing on the spiritual qualities of monastery existence, it documents the secular aspects of the nuns' relationships, activities, and routines, and offers a glimpse into the concrete ways in which they negotiate their identities within the separate yet connected spaces of home and church.
Lumina amintirii = In the light of memory. Grossman, Alyssa; Ireland, Royal Anthropological Institute of Great Britain and; Anthropology, Granada Centre for Visual (2010).
Lumina amintirii explores evocations of memory in contemporary post-socialist Bucharest, nearly twenty years after the fall of Romanian communism. The film is shot in Cismigiu Gardens, one of the oldest public parks in Bucharest. Interweaving recollections of the past with glimpses of present-day scenes from the park, the film constructs a montage of stillness and motion, images and voices, landscapes and people. Tracing paths through both the mind and the city, it invites viewers to activate their own memories and imaginations along with those unfolding in the film.
Shepherds in the cave. Grieco, Anthony; Creanza, Tonio; Laborante, Donato Emar; Kilburn, Nicole; Media, Red Mammoth; Ireland, Royal Anthropological Institute of Great Britain (2017).
The Fornello Restoration Project is a cultural conservation initiative founded by Tonio Creanza and Giovanni Ragone, and devoted to restoring medieval frescoes and traditional cultural practices in an extensive network of caves near Altamura, Italy. The Byzantine and Latin era frescoes range from 12th to 14th century CE., the surrounding cave dwellings date back thousands of years earlier, and nearby Neanderthal remains have been determined to be older than 130,000 years. The film chronicles the meticulous work of art restorers working on the frescoes, archeologists exploring the network of caves, and shepherds and farmers in the surrounding countryside - locals, visitors, and migrants alike - their passions indivisible from one another.
Please don't beat me, sir!. Friedman, P. Kerim; Talukdar, Shashwati; Schwarz, Henry; Engfehr, Kurt; Berk, Michael; Four Nine and a Half Pictures, Inc; Theatre, Budhan (2011).
Over sixty million Indians belong to communities imprisoned by the British as "criminals by birth.' The Chhara of Ahmedabad, in Western India, are one of 198 such 'criminal tribes.' Declaring that they are 'born actors, ' not 'born criminals, ' a group of Chhara youth have turned to street theater in their fight against police brutality, corruption, and the stigma of criminality--a stigma internalized by their own grandparents. Please don't beat me, Sir! follows the lives of these young actors and their families as they take their struggle to the streets, hoping their plays will spark a revolution.
Ignacio's legacy. Fossgard-Moser, Titus; Moser, Brian; Ireland, Royal Anthropological Institute of Great Britain and (2017).
Between 1960 and 1992, the acclaimed documentary filmmaker Brian Moser made four films concerning indigenous peoples of northwest Amazonia: "Piraparana" (1960), "War of the Gods" (1971), "A Small Family Business" (1983), and "Before Columbus" (1992). This film documents a journey in early 2016 by Brian, his son Titus, and anthropologists Stephen and Christine Hugh-Jones to show and return these films and other audio-visual material to the Barasana and Makuna peoples. Alongside capturing the journey and the peoples' reactions to the films, it draws upon the earlier films to explore various forms of cultural change over nearly sixty years.
Socotra. Esteva, Jordi; Productions, Siwa; Ireland, Royal Anthropological Institute of Great Britain and (2017).
The film is a journey across the island of Socotra in the Indian Ocean, off the coast of Yemen. Socotra is isolated during the monsoon season, when it is impossible to land on it. This isolation has preserved a unique environment. Frankincense and myrrh trees grow freely. Ahmed Afrar, his companions and three cameleers with their animals trek to the mountains before the rainy season. During the trip, the Socotrians tell stories by the fire. During the night, the conversation turns to legends of djinns and monstrous snakes that dwell in the cavernous interior of the island.
Namatjira project. Davies, Sera; Namatjira, Albert; Marinos, Sophia; Jamieson, Trevor; hART, B. I.G.; Entertainment, Umbrella (2017).
An extraordinary first-hand account of the international battle to reclaim the artwork and heritage of one of Australia's most important Indigenous figures: Albert Namatjira. Namatjira was one of those rare artists who changed the course of history. But he was never fully accepted by white Australia, and after being wrongfully imprisoned, he died despondent and broken. Then, in 1983, the Government sold the rights to his work to a dealer despite Namatjira having left his art to his wife and children. Namatjira Project documents their fight to have his legacy returned to its rightful home.
Firāāq = Firaaq = Firaq. Das, Nandita; Kothari, Shuchi; Dholakia, Rajat; Kanojia, Piyush; Shah, Naseeruddin; Goswami, Shahana; Chopra, Tisca; Rawal, Paresh; Suri, Sanjay; Yadav, Raghuvir; Navala, Dīptī; Company, Percept Picture; Entertainment, Eagle Home (2009).
In the midst of the 2002 riots between the Hindus and the Muslims in Gujarat, the lives of people from different walks of life are all tested, from a couple desperately trying to decide whether or not to stay in their home, to a woman who must deal with the guilt of sending someone away, to a group of men bent on revenge.
On Broadway. Danusiri, Aryo; Resources, Documentary Educational; Lab, Harvard University Sensory Ethnography (2011).
A structural account of the cultural transformation of a mosque in a basement space in Manhattan, New York City. As suggested by the title, this film is 'a song' of transformational moments of space, identities and belief. Consisting of six long take shots, it starts with a relaxed conversation in the everyday life of an emptiness of a basement. Then it gradually becomes an event - an event of struggle. At the end, with a twist, it raises questions about the boundaries between the mundane and the spiritual, the politics and the everyday.
Leviathan. Castaing-Taylor, Lucien; Paravel, Véréna; Cinéma, Arrête ton; Guild, Cinema (2013).
In this cinema verite work set entirely on a groundfish trawler out of New Bedford, Mass., the filmmakers have avoided the standard equipment of interviews, analysis and explanation. A product of the Sensory Ethnography Lab at Harvard, the film offers not information but immersion in wind, water, grinding machinery and piscine agony. The brutality of fishing, as opposed to its romance, is emphasized here. The experience is often unnerving and sometimes nauseating, because of the motions of the juddering, swaying hand-held camera and also because of the distended eyes, gasping mouths and mutilated flesh of the catch. Presented without dialogue, speech is drowned out by the roar of the elements and the screech and thump of engines and hydraulic winches.
Hija de la laguna = Daughter of the lake. Cabellos, Ernesto; Frigola Torrent, Núria; Prieto, Antolín; Sánchez Giraldo, Carlos; Steiner, Jessica; Hilari Sölle, Miguel; Choy-Yin, Martín; Ayay Chilón, Nélida; Video, Guarango Cine y. (2018).
Nelida is an Andean woman who talks to the water spirits. The discovery of a gold deposit threatens to destroy the lake she thinks of as her mother. To stop this from happening, Nelida joins the local farmers who fear being left without water in their fight against the biggest gold mine in Latin America.
Sweetgrass. Barbash, Ilisa; Castaing-Taylor, Lucien; Lab, Harvard University Sensory Ethnography; Kanopy (2019).
An unsentimental elegy to the American West, Sweetgrass follows the last modern-day cowboys to lead their flocks of sheep up into Montana's breathtaking and often dangerous Absaroka-Beartooth mountains for summer pasture. This astonishingly beautiful film reveals a world in which nature and culture, animals and humans, and vulnerability and violence are all intimately meshed.
Neighbors. Avildsen, John G.; Gelbart, Larry; Zanuck, Richard D.; Brown, David; Belushi, John; Aykroyd, Dan; Moriarty, Cathy; Walker, Kathryn; Conti, Bill; Berger, Thomas; Pictures, Columbia; Entertainment, Sony Pictures Home (2011).
Earl Keese is a slightly overweight, fairly average guy who is approaching middle age. He leads a reasonably comfortable life with his family in their suburban home until the house next door is bought by a truly odd couple, Vic and Ramona, who quickly proceed to drive Earl crazy. Vic's lunatic behavior has Earl running in circles while Ramona's coarse seductiveness leaves him panting. In short, Earl's tranquil life is suddenly turned upside down. (Newly remastered)
Rat film. Anthony, Theo; Roch-Decter, Riel; Pardo, Sebastian; Jones, Maureen; Deacon, Dan; Guild, Cinema (2017).
A unique blend of history, sci-fi, poetry and portraiture, Rat Film ... breaks documentary norms and dissects how racial segregation, redlining, and environmental racism built the Baltimore we see today.
Whipping zombie = Kale zonbi. Ancarani, Yuri; Guild, Cinema (2017).
In a remote Haitian village, a ritual dance, slaves and masters: it's the zombie dance. Riding on a hypnotic and relentless music, inducing trance and evoking the rhythm of working muscles, men whip and fight one another, until they die and be born again in an infinite cycle. Directed by Yuri Ancarani (The Challenge) Kale Zonbi, Whipping Zombie, the title of a unique ritual shot for the first time, taking place in a paradise where it is impossible to forget the horror of the past.
Still life. Allan, Diana; Resources, Documentary Educational; Lab, Harvard University Sensory Ethnography (2010).
Explores the mediations of memory among three generations of Palestinian refugees living in Lebanon. It considers how a series of photos brought to Lebanon by Said Otruk, an elderly Palestinian fisherman from Acre, mediate both his present experience and recollections of his life in Palestine before 1948.
Living with Boko Haram. Ahmadou, Mouazamou; Waage, Trond; Kogine, Vakote; Kogine, Antoniette; Ireland, Royal Anthropological Institute of Great Britain and (2017).
January 2015. Boko Haram's violent insurgency is approaching Mogdé, on the Nigerian/Cameroonian border, where Antoniette Kogine lives. Just outside Oslo, Norway, lives her son Vakote, worried and afraid for his family and friends back home. This film follows Antoniette and Vakote over a period of 6 months, whilst extremely violent events take place and Antoniette's youngest son disappears. Through a close portrait of a mother and her son, we gain a new insight into how Boko Haram is seen from 'below'. The making of this film was possible only due to long-lasting collaboration between visual anthropologists in northern Norway and northern Cameroon.
Kivalina. Abatemarco, Gina (2016).
Shows life in the small Inupiaq village of Kivalina, Alaska, and the difficulties residents face with the impacts of sea level rise as their Island disappears with each passing storm.
Angry Inuk. Arnaquq-Baril, Alethea (2017).
Seal meat is a staple food for the Inuit people, and many of the pelts are sold to offset the extraordinary cost of hunting. Inuit are spread across extensive lands and waters, and their tiny population is faced with a disproportionate responsibility for protecting the environment. They are pushing for a sustainable way to take part in the global economy, but in opposition stands an army of well-funded activists and well-meaning celebrities who consider any seal hunting barbaric.
An art that nature makes. Bernstein, Molly (2017).
Finding unexpected beauty in the discarded and decayed, photographer Rosamond Purcell has developed a body of work that has garnered international acclaim, graced the pages of National Geographic and over twenty published books, and has attracted admirers such as Jonathan Safran Foer, Errol Morris, and Stephen Jay Gould. Here, Purcell's fascination with the natural world is detailed, offering insight into her unique way of re-contextualizing objects both ordinary and strange.
Subatlantic. Biemann, Ursula (2015).
Appealing concurrently in this video essay to various meanings of the term "Subatlantic"--a climatic phase beginning 2500 years ago, as well as the submerged regions of the Atlantic--Biemann immerses her camera deep in oceanic waters to ponder upon the entanglements of geological time with that of human history. As the voice-over speaks the accounts of a she-scientist traversing the pan-generational timescales of the Subatlantic, we navigate between the palpable evidence of the dramatic human-induced ecological alterations to the world and those that are simply beyond our comprehension.
Frame by frame. Bombach, Alexandria; Scarpelli, Mo (2015).
When the Taliban ruled Afghanistan, taking a photo was a crime. After the regime fell from power in 2001, a fledgling free press emerged and a photography revolution was born. Now, as foreign troops and media withdraw, Afghanistan is left to stand on its own, and so are its journalists. Set in a modern Afghanistan bursting with color and character, FRAME BY FRAME follows four Afghan photojournalists as they navigate an emerging and dangerous media landscape reframing Afghanistan for the world, and for themselves. Through cinema verite, intimate interviews, powerful photojournalism, and never-before-seen archival footage shot in secret during the Taliban regime, the film connects audiences with four humans in the pursuit of the truth.
El mar la mar. Bonnetta, Joshua; Sniadecki, J. P. (2017).
Weaves together harrowing oral histories of the [Mexican-American] border region with hand-processed, 16mm images of the flora, fauna and items left behind by those who've made the hazardous trek. Over a black screen, subjects speak of their intense, mythic experiences in the desert: A man tells of a fifteen-foot-tall monster said to haunt the region, while a border patrolman spins a similarly bizarre tale of man versus beast. A sonically rich soundtrack adds to the eerie atmosphere as the call of birds and other nocturnal noises invisibly populate the austere landscape. Emerging from the ethos of Harvard's Sensory Ethnography Lab, Sniadecki's attentive documentary approach mixes perfectly with Bonnetta's meditations on the materiality of film. Through their stunning collaboration, they create a mystical, folktale-like atmosphere dense with memories, ghosts and the remains of desire.
Leaving Greece. Brass, Anna (2016).
When entering the EU for the first time, a refugee must submit an application for asylum. So much is clear. Less well known, however is the fact that for 90% of all refugees, the Aegean is the gateway to Europe. So what does this mean for Greece? Every aspect of the Greek Asylum system is so overstrained that it has effectively collapsed. No one is allowed to remain in Greece, and yet, according to the EU no one may leave. The authorities are extremely harsh to those attempting to exit the country. The film tells the very personal story of three Afghan refugees: Hossein, Reza and Kaka, who have tried for years to break this vicious circle. A film about friendship--and the contradictory European refugee policy.
A town in Sicily. Bromhead, Toni de (2018).
In 2013, a group of young Sicilians known as CambiaMenti take on corruption and Mafia in their local election in Castellammare del Golfo.
Lampedusa in Winter. Brossmann, Jakob (2017).
Filmed during the winters of 2013 and 2014, a vivid portrait of the tiny "refugee island" of Lampedusa, which is obliged by virtue of its position on the southernmost edge of Europe to confront issues which the rest of the continent attempts to avoid: the ongoing crisis of the African boat people.
Vultures of Tibet. Bush, Russell O. (2015).
Vultures of Tibet explores the recent commercialization of a sacred Tibetan funeral tradition known as Sky Burial. In Sky Burial, Tibetans ritually feed the bodies of their dead to wild Griffon Vultures as an offering to benefit other living beings. With the modernization of Western China and the expansion of tourism in Tibet, burial sites are now highlighted on tourist maps and local officials charge visitors admission to view the private ritual. Against the will of affected families, visitors take photos and video, often posting them online. Filmed in August, 2011, when regional tensions became so unbearable that scores of Tibetans began setting themselves on fire ... Exposing a world in which nature and culture, humans and animals, spirituality and politics are all interconnected, Vultures of Tibet engages audiences with the potential for oppression in the act of looking.
Sou suo = Caught in the web. Chen, Kaige (2012).
The story begins on a bus, when white-collar worker Ye refuses to give up her seat to a senior citizen. Her defiance is videotaped by a journalist intern and played during a news show. The video sparks intense debate on and off the Internet. Some Internet users search for Ye's personal information and post it all online. The issue soon brings tremendous changes to the families of both the journalist intern and Ye's boss.
Ringtone. Deger, Jennifer; Gurrumuruwuy, Paul (2016).
In the community of Gapuwiyak in northeast Arnhem Land in the Northern Territory, Yolngu Aboriginal families offer glimpses into their lives and relationships through their choice of ringtones. From ancestral clan songs to 80s hip hop artists and local gospel tunes, these songs connect individuals into a world of deep and enduring connection. And yet, simultaneously the phone opens Yolngu to new vectors of vulnerability and demand. Made collaboratively by a new media arts collective of indigenous and non-indigenous filmmakers, the film offers a beautiful and surprisingly moving meditation on the connections and intrusions brought by mobile phones to a once-remote Aboriginal community.
Mirages. Dury, Olivier (2010).
Every day, dozens of people are driven by an incredible sense of hope to set out with the intention of arriving in Europe. During the first few days of their crossing from Agadez to Djanet, from Niger into Algeria, these emigrants are forced to confront the time of the desert with its stases, its brutal accelerations and its mineral inertia. The ordeal they undergo turns them into undocumented immigrants. But during their journey, this film considers them as individuals and for a brief moment steals them from the invisibility that awaits them.
Awake. Fox, Josh; Spione, James; Dewey, Myron (2017).
The Water Protectors at Standing Rock captured world attention through their peaceful resistance. While many may know the details, AWAKE, A Dream from Standing Rock captures the story of Native-led defiance that forever changed the fight for clean water, our environment and the future of our planet. The film is a collaboration between Indigenous filmmakers, Director Myron Dewey, Executive Producer Doug Good Feather and environmental Oscar Nominated filmmakers Josh Fox and James Spione. It is a labor of love to support the peaceful movement of the water protectors.
Tracing roots. Frankenstein, Ellen (2014).
Tracing Roots is a portrait of an artist and a mystery. The film follows master weaver and Haida elder Delores Churchill on a journey to understand the origins of a spruce root hat found with Kwädąy Dän Ts'ìnchį, the Long Ago Person Found, a 300-year-old traveler discovered in Northern Canada in a retreating glacier. Delores's quest crosses cultures and borders, involving artists, scholars and scientists, raising questions about the meaning of connection, knowledge and ownership.
The Bastard Sings the Sweetest Song. Garland, Christy (2012).
In Georgetown, Guyana, Muscle and his mother Mary each struggle to break free of something, bringing them into conflict with each other. Mary (74) wanders on the road, begs for money to get drunk, and sometimes falls down and hurts herself, so her son Muscle (43) decides that the only way to prevent her from hurting herself is to keep her locked up in her small, dark room. This desperate, extreme measure unearths a violent family history that soon reveal Muscle and Mary to be heroic survivors of an atrocious past who courageously fight to live life on their own terms.
Village at the end of the world. Gavron, Sarah; Katznelson, David (2013).
Shot over the course of a year in Northern Greenland, the film intrudes audiences to a remote village with more dogs than people. The film focuses on four townsfolk from the tiny population of 59: Lars, the only teenager; Karl, the huntsman who has never acknowledged that Lars is his son; Ilanngauq, the outsider who moved to Niaqornat after meeting his wife on-line; and Annie, the elder who remembers the ways of the Shaman and a time when the lights were fueled by seal blubber. In this astutely constructed real-life drama, we see how the economic and ecological future of the community is more fragile than its hardy inhabitants.
Honorable nations. Gazit, Chana (1993).
Salamanca is the only city in the United States that is situated entirely on land owned by Native Americans. For 99 years, the townspeople have rented the land upon which their homes stand from the Seneca Indians for $1 a year. They have gotten used to their right to live and to do business on Indian property. But on February 19, 1991 the lease expired. The Seneca Nation felt that it has been badly exploited by the old terms, and now insisted on huge increases - or else it would take back the land. Many of the townspeople were outraged at higher rents, especially as the town was suffering from a depressed economy. The film follows the five years of negotiation, as each side heatedly defended their position. Archival footage, historical photographs and interviews help tell the story of two communities caught in a web of historical injustice. Eventually, a landmark agreement was hammered out which enabled the town to survive. Among its terms is $60 million in reparation by the Federal government to the Senecas, the first Native American tribe to receive this acknowledgement of past wrongs.
At low tide. Grimshaw, Anna (2018).
Every day, carrying the simplest of tools, diggers across coastal Maine set out at low tide to dig for clams on the wide mud flats that stretch far into the bay. It is backbreaking work. But it has an unusual beauty that emanates from the ebb and flow of the tide, the shifts of light and wind, the skill and rhythm of digging, and the sound and texture of deep, viscous mud. At Low Tide explores the choreography of digging through a portrait of a man who lives and works according to the tide. In its focus on pattern, movement and repetition, the film evokes the sensory richness and poetic dimensions of clam digging, offering a new perspective on contemporary American culture.
Ever the land. Grohnert, Sarah (2015).
Ever the Land explores the sublime bond between people and their land through the landmark design and construction of a unique "Living Building" by one of Aotearoa New Zealand's most passionately independent Maori tribes, Ngai Tuhoe. For 150 years, longstanding grievances over extreme colonisation tactics such as illegal land confiscation and scorched earth policies had defined the relationship between Tuhoe and a succession of New Zealand governments. Then in 2014, history was made: Te Urewera, Tuhoe's ancestral homelands, were returned, the New Zealand government gave an official apology, and the Tuhoe people built the first ever "Living Building" in Aotearoa. Conceived as symbolic testament to Ngai Tuhoe values and their vision of self-governance, the new building, and the story of its design and construction, ties together a wealth of characters, history and experiences in this thoroughly engaging observational documentary. The creation of the building immerses us in a culture of people closely entwined with the land, and in a form of architecture distinguished by the integrity of its relationship with the environment.
Coffee futures = Neyse halim çiksin falim. Gürsel, Zeynep Devrim (2010).
Coffee Futures weaves individual fortunes with the story of Turkey's decades-long attempts to become a member of the European Union. Promises and predictions made by politicians, both foreign and domestic, are juxtaposed with the rhetorics and practices of coffee fortune telling.
Playing with nan. Kharel, Dipesh; Saito, Asami (2012).
The story of a Nepali young man who migrated to work in a Nepali restaurant in northern Japan. The film explores his daily life at work and his family at home, which reflects socio-cultural problems related to globalization. Twenty-eight years ago, Ram was born in a rural village in Nepal. Working on the farm Ram saw little hope apart from surviving in the poor conditions. One day he decided to escape from the village and poverty. In Kathmandu he worked for 12 years at several restaurants. However, he could not change the family's situation. He heard a beautiful story from a broker about the work and earning opportunities in Japan. He paid the broker 20,000 USD to buy a work visa to enter in Japan. He borrowed the money from his relatives and friends with the commitment of paying back them later with a 20% interest. Several dramatic consequences occurred within Ram's life and his family's after his migration to Japan.
Mediating mobility. Köhn, Steffen; Calvo, Paola (2015).
Tell me when...: On their way to Europe, immigrants Opara from Nigeria, Shahbaz from Pakistan and Ilham from Morocco are stranded in Melilla, a Spanish exclave on the North-African coast that is surrounded by a huge border fence. Waiting for their papers or their final deportation, they are trapped in this enclosed city and can do nothing but wait. The video captures this in limbo situation by radically focusing on their sense perception, their increasingly circular movements in this confined space, and their drowning in a sea of dead time. A tale of two islands: In 2011, the small island Mayotte in the Indian Ocean officially received the status as the 101st department of France. Since that day, an external frontier of the European Union separates Mayotte from Anjouan, its African sister-island belonging to the Union of the Comoros. Both Islands were for a long time part of the French colonial empire. In the wake of the African decolonization movement of the 1970s, referendums were organized on both islands. While Anjouan declared its independence, the overwhelming majority in Mayotte voted for remaining a part of France. Since then, Mayotte profits from French investments into its infrastructure, education and health system, while Anjouan looks back onto a history full of coups d'états, political turmoil and economic depression. Many Anjouanais thus try to clandestinely reach their neighbor-island in nighttime crossings. The film describes the postcolonial space that originates from this complex political situation. It consists of two synchronized films that are projected onto two opposing screens. They chart both islands' lifeworlds in precisely composed tableaux, revealing the invisible bonds that connect them. Intimate distance: A collaborative cinematic experiment where the director asked three transnational families to record their daily webcam conversations over the course of several months. The film offers a very intimate insight into the fascinating communication rituals of migrants, in which they create transnational family life via Skype.
Suspino. Kovanic, Gillian Darling (2003).
Examines the persecution and discrimination inflicted upon European Roma, or Gypsies as they are pejoratively called. Focuses on Romania, where Europe's largest concentration of Roma are considered "public enemies," and Italy, where the Roma are classified as nomads and forced to live in camps while being denied human rights available to refugees and foreign residents.
The anthropologist. Kramer, Seth; Miller, Daniel A.; Newberger, Jeremy S. (2016).
At the core of The Anthropologist are the parallel stories of two women: Margaret Mead, who popularized cultural anthropology in America; and Susie Crate, an environmental anthropologist currently studying the impact of climate change. Uniquely revealed from their daughters' perspectives, Mead and Crate demonstrate a fascination with how societies are forced to negotiate the disruption of their traditional ways of life, whether through encounters with the outside world or the unprecedented change wrought by melting permafrost, receding glaciers and rising tides.
Qapirangajuq Inuit knowledge and climate change. Kunuk, Zacharias; Mauro, Ian (2010).
Zacharias Kunuk and his team at Isuma Productions along with researcher Ian Mauro, PhD, University of Victoria, have teamed up with Inuit communities to document and communicate Inuit knowledge and experience regarding climate change in Nunavut. This community-based video research and filmmaking project values the important contribution Inuit have regarding climate change impacts and associated adaptation strategies. Their insight - borne from centuries of shared knowledge - reveals a deep intimacy with their environment and both supports and challenges mainstream media reports of climate change. This new documentary, the world's first Inuktitut language film on the topic, takes the viewer "on the land" with elders and hunters to explore the social and ecological impacts of a warming Arctic. Exploring centuries of Inuit knowledge, allowing the viewer to learn about climate change first-hand from Arctic residents themselves, the film portrays Inuit as experts regarding their land and wildlife and makes it clear that climate change is a human rights issue affecting this ingenious Indigenous culture.
Lake of betrayal. Lamont, Paul (2017).
Kinzua Dam was a flashpoint in history for the Seneca Nation of Indians. Completed in 1965, it created a reservoir that inundated vast tracts of their ancestral lands. This was in breach of the Canandaigua Treaty of 1794 signed by President George Washington which had guaranteed them their lands "forever." Set against a backdrop of tha federal Indian termination policy, pork-barrel politics, and undisclosed plans for private hydropower, the Seneca fought the federal government and the U.S. Army Corps of Engineers to defend their sovereignty. Lake of Betrayal explores an untold story from American history about a one-sided battle pitting an impoverished Native American nation against some of the strongest political, social and commercial forces in the country.
Sepideh. Madsen, Berit (2016).
Living in the Fārs province of Iran, Sepideh wants to become an astronaut. She spends her nights exploring the secrets of the universe, while her family will do anything to keep her on the ground. The expectations for a young Iranian woman are very different from Sepideh's ambitions, and her plans to go to university are in danger. But Sepideh holds on to her dream! She takes up the fight and teams up with the world's first female space tourist, Anousheh Ansari.--Container.
Travel. Mai, Nicola (2017).
Joy left Nigeria to help her family after her father's death. She knew that she was going to sell sex in France, but she was unaware of the degree of exploitation that she would face. With the help of an association she obtains asylum, but to help her family and live her life, she continues selling sex. This documentary ethnofiction was co-written by Nicola Mai and 8 Nigerian women with experiences of migration, sex work and trafficking. Joy is one of several fictional characters embodying their individual and collective experiences. In order to protect their identities these roles are played by non-professional actresses including some of the film's co-authors.
Algorithms. McDonald, Ian (2014).
In India, a group of boys dream of becoming Chess Masters, driven by a man with a vision. But this is no ordinary chess and these are no ordinary players. Algorithms is a documentary on the thriving but little known world of Blind Chess in India. Filmed over three years, Algorithms travels with three talented boys and a totally blind player turned pioneer to competitive national and world championships and visits them in their home milieu where they reveal their struggles, anxieties and hopes. Going beyond sight and story, this observational sport doc with a difference moves through the algorithms of the blind chess world challenging the sighted of what it means to see. It allows for the tactile and thoughtful journey that explores foresight, sight and vision to continue long after the moving image ends.
Rockerill. Mora, Yves (2011).
Five years ago, one of the oldest industrial buildings of Charleroi- 'les Forges de la Providence'- was saved from demolition being brought by two citizens: Thierry Camuy and Mika Hell. Together with some close friends and artists, they turned it into a place of alternative creation which became a symbol of renaissance and image rehabilitation for the whole region.
Journey to the maggot feeder. Niglas, Liivo; Tender, Priit (2015).
This film tries to solve the mystery of a bizarre Arctic fairy tale. Priit Tender, an Estonian animator, makes a film about an old Chukchi legend - The Maggot Feeder. The unconventional narrative is misunderstood by western audiences and Priit takes off on a journey to Chukotka in the north-eastern corner of Siberia, where he unearths deeper layers of the tale and local culture. This anthropological road movie deals with the importance of storytelling and it invites the viewers to undertake a journey into the depths of the Chukchi inner world.
Why is Mr W. Laughing. Papenbrook, Jana (2017).
Mr Horst W. is a man who loves to laugh. He and his friends Bernhard and Michael are members of a community project of artists with different impairments. Instead of interpreting art as a means of liberation from normative society, like most neurotypical artists who work in competition, these subversively serene artists see art as a vehicle to build a community and to cooperate.
Triple divide [redacted]. Pribanic, Joshua; Troutman, Melissa A. (2017).
Looks at the impact of fracking in one of the country's most pristine watersheds. With exclusive interviews from oil and gas industry leaders, independent experts and impacted residents, Triple divide [redacted] covers five years (2011 - 2016) of cradle-to-grave investigations that reveal how regulators and industry keep water contamination covered up.
Cast in India. Raheja, Natasha (2014).
Iconic and ubiquitous, thousands of manhole covers dot the streets of New York City. Enlivening the everyday objects around us, this short documentary is a glimpse of the working lives of the men behind the manhole covers in New York City.
Ausencias = Absences. Sánchez, Tatiana Huezo (2015).
Exposes the ever-intensifying phenomenon of enforced disappearance in Mexico. A boy and his father disappear one morning, snatched off the road by armed men. Left behind, alone with her daughter, Lulu, a victim who refuses to give in, decides to tell the unacceptable story: the unfillable void, the absence of loved ones, the unanswered questions and the suffocating silence. After 5 years, absence has her living in a limbo that gives way to desire, hope and the struggle to find her 9-year old son Brandon and her husband, alive. Lulú despierta en el silencio de una casa que quedó vacía. Hace cinco años que desaparecieron su esposo y su hijo Brandon, de ocho años. La ausencia que dejaron atrás ahora la hace vivir en un limbo donde también habitan el deseo, la esperanza y la lucha por encontrarlos todavía con vida.
Tempestad. Sánchez, Tatiana Huezo (2016).
A group of innocent people is charged with human trafficking and thrown into prison. The authorities announce they've dealt a blow to organised crime; the public is reassured. Tempestad is a road movie: 2000 kilometres by bus from Matamoros to Cancún, through a blustery, overcast, bleak country. In her second feature documentary, Tatiana Huezo has a young mother recount her journey through hell: innocent, robbed of her liberty, she's handed over to those for whom she's being made to atone--in a private prison controlled by the Gulf Cartel.
Ghetto PSA. Schillaci, Rossella (2016).
Jacob arrived in Italy alone from French Guinea when he was 11 years old. Today he is 27, and hip hop music is his whole world: it is his way to express dreams, hopes and frustrations, and to not feel part of the "ghetto" any longer. He lives on the outskirts of Turin, where, by day, together with other young migrants who are part of his band "Ghetto PSA", he writes songs and makes music. At night, he works as an educator in a centre for asylum seekers. This "double life" leads him to reflect on his own identity, as a young Italian who speaks three languages, but who does not forget who he is and where he has come from.
The way we live now. Smith, Sophia Hersi (2017).
An intimate portrait of the daily routines and rituals of the Hadza people, modern-day hunter-gatherers living in the acacia-baobab woodlands surrounding Lake Eyasi in North-Central Tanzania. The film traces the daily rhythms of this small community while allowing them to reflect on how their way of life has changed. We are with them from dusk until dawn, where we get a glimpse of their world from their point of view: hunting for wild animals and honey, making food and poison, sitting around the fire with family and dancing under the stars.
Good hair. Stilson, Jeff (2010).
Comedian Chris Rock tackles the very personal issue of hair, and how attaining good hair can impact African Americans' activities, relationships, wallets, and a self-esteem. Engages in frank, funny conversations with haircare professionals, beautyshop and barbershop patrons, as well as featuring interviews with Dr. Maya Angelou, Nia Long, Ice-T, Raven Symone, and more.
Unity. Visser, Mara Lin (2017).
This is a film about African fashion in the capital of Ghana. African printed fabrics seem to making a comeback in the fashion system of Accra. While following Allan, a fashion designer and his wife Cynthia, this mosaic film shows the great diversity and hybridity of tailor-made fashion in the city, the variety of ways in which African clothing may be used and the cultural expression that is implicit in the wearing of African printed fabrics. The process of sewing a dress involves the marriage not only of fabric and design, and of tradition and creativity, but also of husband and wife.
Fighting for nothing to happen. Wildenauer, Nora (2017).
After the volcanic eruption of Mount Rokatenda, the people of the island of Pulau Palue in east Indonesia are to be relocated. But are the planned relocation and the "new" life at the neighboring Pulau Besar really promising? This film accompanies Father Cyrillus, priest and employee of Caritas, a Christian NGO, in his efforts to promote and drive forward the relocation project. A worried host community, unclear land rights at the relocation site, a corrupt and disorganized government in the district capital, as well as impatient refugees in temporary shelters, are challenging the protagonists in their attempts to make the best of the situation.
Stori Tumbuna. Wolffram, Paul (2014).
In 2001 Paul Wolffram, a cultural researcher, travelled to one of the most isolated and unique corners of the earth. He eventually spent over two years living and working among the Lak people in the rainforest of Papua New Guinea. As his relationships with the people grew he began to glimpse a hidden reality, a dark and menacing history that loomed over his host community. Over time the sense that something is amiss grows. As his curiosity deepens Paul brings to light dark secrets that set in motion a compelling and deadly set of events.
Dear Pyongyang. Yang, Yonghi (2017).
The daughter of a leader of the pro-North Korean movement in Japan, Yang Yonghi was separated from her brothers at a young age when they were sent to North Korea under a repatriation campaign. As the economic situation in the North deteriorated, the brothers became increasingly dependent for survival on the care packages sent by their parents. This autobiographical documentary shows Yang's visits to her brothers in Pyongyang, as well as conversations with her father about his ideological faith.
Zainichi. 映画戦後在日五〇年史製作委員会; O, Dokusu; Iinkai, Èiga Sengo Zainichi Gojūnenshi Seisaku; Kanopy (2016).
Portraying the fifty-year history of zainichi (long-term residents in Japan) Koreans after the liberation of Korea, traces of zainichi evoked in this film question the concepts of 'post-war democracy' and 'pacifism' in Japan. With copious stock footage and testimony, the first half of the film, "History," chronologically traces the various experiences of zainichi from Japan's defeat (Korean liberation) through 1990. The latter half, "People," focuses on first, second and third-generation zainichi respectively, vividly depicting how they live.. English subtitles were made by Noboru Tomonari at the Department of Asian Languages and Literatures, Carleton College, with six students at Carleton: Narula Bilik, Joanna Lee, Mariko J. Long, Kelly Monroy, Katherine E. Morriss, and Erika Ohashi.
Cotton road. 李桢; Kissel, Laura K. (2017).
Americans consume nearly 20 billion new items of clothing each year. Yet few of us know how our clothes are made, much less who produces them. Cotton Road follows the commodity of cotton from South Carolina farms to Chinese factories to illuminate the work and industrial processes in a global supply chain.
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Ben's mill. Chalufour, Michel; Karol, John (2010).
Shows how, in northeastern Vermont, Ben Thresher operates his nineteenth-century, waterpowered mill to provide tubs, sleds, and tools needed by local farmers. Tells how, almost a century and a half old, his mill and mill technology were critical to America's development.
Myths and the moundbuilders. Chedd, Graham (2010).
The huge earthworks and mounds scattered through the eastern half of the United States prompted people in the nineteenth century to speculate that a lost civilization had preceded the Indians then living among the mounds. Though we've known for some time that the ancestors of those Indians actually built the mounds, archaeologists are still exploring their contents for a better understanding of their builders. Includes re-enactments of the work done by early anthropologists.
Hate groups USA. Chughtal, Zab (2009).
Using the shocking racist murder of James Byrd as a starting point, this disturbing program investigates America’s proliferating hate groups. The KKK’s Charles Lee; the founder of Aryan Nations and his successor, Pastor Neumann Britton; and William Pierce, head of the National Alliance and author of The Turner Diaries, calmly proclaim their chilling views on "racial patriotism" and "positive hate." Countering, Julian Bond, of the NAACP; Irv Rubin, national chairman of the Jewish Defense League; Robert Blitzer, bureau chief of the FBI’s domestic terrorism unit; and others explore the mentality of intolerance, abetted by the subversive Christian Identity movement
Skinheads USA. Cookson, Shari (2004).
Surveys white-supremacist skinhead hate groups active in the United States, specifically Georgia and Alabama. A film crew follows the U.S. white supremacist skinhead group, The Aryan National Front, over a two-month period. Marches, demonstrating against non-whites, meeting with the Ku Klux Klan, and interviews with the group's leader, Bill Riccio, explain the Nazi-inspired group's motivation. Covers an actual neo-Nazi skinhead organization's day-to-day activities at its headquarters, white power rallies and recruitment drives. Also visits The Jefferson County Jail where four skinheads were jailed for the murder of a homeless black man.
The good woman of Bangkok. O'Rourke, Dennis (1995).
A portrait of Aoi, a reluctant Thai prostitute who caters to the enthusiastic first world clientele who crowd the girlie bars of Patpong each night.
Three films from eastern Indonesia. Asch, Timothy; Asch, Patsy; Fox, James J.; Anthropology, Australian National University Department of; Resources, Documentary Educational; Ireland, Royal Anthropological Institute of Great Britain and (2000).
The water of words: explores the interrelationship between ecology and poetry as seen on Roti Island where the juice of the lontar palm provides the dietary mainstay and is the focus of ritual poetry. Spear and sword: examines marriage rituals of the island people. A celebration of origins: a record of the gren mahe rituals of the people of the domain of Wai Brama. The gren mahe is the largest religious event of the Wai Brama ceremonial system and requires the participation of the whole community. The film examines ceremonial leadership and the role of evolving religious practice in a changing society.
Two films on cremation in Bali. Asch, Timothy; Asch, Patsy; Connor, Linda; Forge, Anthony; Anthropology, Australian National University Department of; Resources, Documentary Educational; Ireland, Royal Anthropological Institute of Great Britain and (2000).
Releasing the spirits: as part of the preparations for the island-wide ceremony, Eka dasa rudra, religious officials urged all Balinese to cleanse the island by cremating their dead. Many were forced to pool resources and hold group cremation rituals. The film shows preparations for such a ceremony and its cycle of rituals: the cremation, post-cremation and casting of the ashes into the ocean. The film includes subtitled comments by four of the participants. Ngarap: in 1973 in the village of Djumpai in East Bali, Anthony Forge filmed the cremation of an older woman from an affluent 'commoner' family. As her body was moved from her family compound to the cremation tower, men of the ward seized the body and began to fight over it, as was traditional in that part of Bali. Forge juxtaposes his recording of this event with Gregory Bateson's 1937 footage of a Ngarap and footage of Balinese paintings. The video is based on an unfinished version Forge was working on with Patsy Asch before his death.
The feast. Asch, Timothy; Chagnon, Napoleon A.; Neel, James V.; Resources, Documentary Educational (2007).
Yanomamo Indians, living in southern Venezuela and northern Brazil, create feasts that are ceremonial, social, economic, and political events. Men adorn their bodies with paint and feathers to display their strength in dance and ritualized aggression trading partnerships are established or affirmed and alliances are created or tested. In this film, the Patanowa-teri invite the Mahekodo-teri to their village. The two groups had been allies until a few years earlier, when they fought over the abduction of a woman. Through feasting, trading, dancing and chanting, a new alliance is formed."
Four films on a healer in Central Bali. Asch, Timothy; Connor, Linda; Asch, Patsy; Anthropology, Australian National University Department of; Resources, Documentary Educational; Ireland, Royal Anthropological Institute of Great Britain and (2000).
"During the trance sequence, Jero's statements and the questions of the clients are subtitled, but intermittent narrative by Linda Connor explains aspects of ritual which would otherwise be obscure. Between trances, Jero also explains the meaning of ambiguous messages from the spirits to her clients. During the séance, Jero is possessed three times, each time by a different spirit who gives instructions and information for the clients. In the final trance, the clients' dead son possesses Jero to give his family the information and direction they need. Jero is clearly comfortable being filmed, possibly because clients often tape record the trance sessions so that they and other relatives who were unable to attend the session can refer back to the statements of the spirits when they get home."--RAI.
The Hadza. Benenson, Bill; Benenson, Laurie; Wrangham, Richard W.; Wells, Spencer; Banks, David J.; Crittenden, Alyssa N.; Peterson, Daudi; Woodard, Alfre; Zeleza, Paul Tiyambe; Productions, Benenson; Productions, Firestick; Group, Films Media (2016).
One of the last true hunter-gatherer tribes, the East African Hadza try to maintain their sustainable lifestyle. They have lived on their land near the Rift Valley in Tanzania for over 50,000 years. Like other indigenous peoples around the globe, the Hadza now face grave challenges to their way of life.
Jean Rouch en zijn camera. Bregstein, Philo; Venema, Jan; Mouzourane, Tallou; Stichting, Nederlandse Omroep; Resources, Documentary Educational (2007).
" ... provides an in-depth look at the film work of Jean Rouch and his associates from Niger, namely Damoure and Lam, who participated in production of many of Rouch's Niger-based films ... segments from several of Rouch's earlier film works are interspersed with the filming in Niger and with interview"--Container.
L'usage du monde. Vol. 2. Breton, Stéphane; Beffa, Karol; ARTE France, production company; Films d'ici, production company; Du Musée quai Branly, production company; Voyage, production company; Editions Montparnasse, publisher (2011).
Eux et moi: "Shot behind the scenes, from the point of view of a subjective camera, the film shows the ethnologist's ambiguous relations and negotiations with the people of [the village of Mayaapo] in the mountains [of Papua New Guinea]----Stéphane Breton's films website. Le ciel dans un jardin: "This film follows the last journey, reflective and nostalgic, of the ethnologist in [Beamaapo] in New Guinea. One's gaze is attracted to the poetry of small things. It is a film about the stream of time and remembrance""--Stéphane Breton's films website. Le monde extérieur: "This cinematic essay is a dreamlike straddling of worlds as well as a poetical and nonsensical, Liliputian ethnography. In a way, it is Them and Me in reverse: the filmmaker now turns his camera on the people who live in [Paris], whom he observes through the candid eye of a fictitious, foreign friend, who is unaware of crowds and cities, and to whom he talks about the most insignificant things"--Stéphane Breton's films website. Un été silencieux: "The film takes place on the summer pastures of Kyrgyzstan, in the Tian Shan Mountains. Through the attention it pays to ordinary moments, it describes the arguments of shepherds living in the same tent, as well as the solitude of the filmmaker, present but unnoticed, as if lost in his own thoughts""--Stéphane Breton's films website. Nuages apportant la nuit: Uses footage from Breton's previous films on Papua New Guinea. "A man is walking, or else it's me who's walking. Is it daytime or night? Hard to tell. Looks like a dark, cold forest. Cold? Really? And where is this forest? Or rather, where am I? And what about them, what the hell are they doing here? It looks just like a faraway land. But which one? The one that looks just like the dream I'm having right now. All right then. So here I am, looking for the roast. The roast? Yes. Someone's walking, and it's me, and the road is long, and night is nigh"----Stéphane Breton's films website.
L'usage du monde. Breton, Stéphane; Samani, Julien; Loznit︠s︡a, Sergeĭ; Wang, Bing; Du Branly, Musée quai; d'ici, Films; France, ARTE; Montparnasse, Editions (2010).
Les hommes de la forêt 21: Loggers in Gabon's forestland spend their days felling giant trees and their nights in camps. Lumière du nord: In a remote village in northern Russia, a family experiences the few hours of winter's light. La maison vide: A Spanish community dating from the early 19th century survives in the arid countryside of New Mexico. L'argent du charbon: Truck drivers haul coal from mines in northern China and stop to sell their cargo along the way. La montée au ciel: The village life of Brahmans in Nuwākot, Nepal, is captured.
PlantPure nation. Campbell, Nelson; Corry, John; Fulkerson, Lee; Campbell, T. Colin; Riner, Tom; PlantPure Productions, production company publisher (2015).
"The story of three people on a quest to spread the message of one of the most important health breakthroughs of all time. After renowned nutritional scientist and bestselling author Dr. T. Colin Campbell gives a stirring speech on the floor of the Kentucky House of Representatives, his son Nelson, and Kentucky State Representative Tom Riner work together to propose a pilot program documenting the health benefits of a plant-based diet. Once the legislation goes into committee, agribusiness lobbyists kill the plan. Undeterred, Nelson decides to try his own pilot project in his hometown of Mebane, North Carolina."--Container.
Magical death. Chagnon, Napoleon A.; Asch, Timothy; Neel, James V.; University, Pennsylvania State; Anthropology, Brandeis University Center for Documentary; Resources, Documentary Educational (2007).
Filmmakers Timothy Asch and anthropologist Napoleon Chagnon collaborated on a project to film the Yanomamo Indians in southern Venezuela and northern Brazil. In this film, Chagnon films a shaman, who plays a vital role in Yanomamo society, for it is he who calls, commands, and often is possessed by spirits, or hekura. In 1970, Dedeheiwa's village Mishimishi-mabowei-teri was visited by leaders of the village Bisaasi-teri. After twenty years of hostilities, the visitors wished to establish an alliance with Mishimishi-mabowei-teri, and they came to invite their former enemies to a feast. Afterwards, a shamanic drama is enacted, led by Dedeheiwa. The film is an exceptionally vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture.
A question of humanity. Chandler, Heather Angel; Henrich, Callan; Chandler, James; Group, Innovative Multimedia; Group, Films Media (2016).
Nodding Syndrome (4:59) -- Hope for Humans Center (3:07) -- Ballam's Improvement (3:15) -- Bond of Brotherhood (2:18) -- Negative Perception (4:08) -- Helping the Children (1:59) -- Assessment Day (1:48) -- Overcoming Stigmas (2:33) -- Civil War and Abduction (2:56) -- IDP Camps (2:54) -- Voiceless Victims (1:51) -- Kitgum District (3:35) -- Anyero Flo and Scovia (2:36) -- Outreach Negligence (4:47) -- Kitgum General Hospital (3:21) -- Esther's Death (2:29) -- Strength and Teaching (4:20) -- Community Impact (2:00) -- Angwech Collines' Graduation (3:49) -- Program Epilogue (1:39) -- Credits (3:02)
The masks of Mer. Eaton, Michael; Maloney, Michael; Roëves, Maurice; Smith, Mark; Herle, Anita; Knott-Fayle, Stephen; Haddon, Alfred C.; Productions, Potlatch; Ireland, Royal Anthropological Institute of Great Britain and (2010).
"The film Alfred Haddon made in 1898 in the Torres Straits, lasting for less than a minute, is the world's first example of anthropological cinema. The Masks of Mer tells the extraordinary story of this experiment and traces the masks worn in the sacred initiation ceremony Haddon filmed. And, for the first time since Haddon himself publicly presented the work, his films are 'synchronised' with the team's phonographic recordings."--Container.
Our botanical biosphere. Edols, Michael; Falzon, Mark; Hanckel, Sue; Rubin, Dot; Uhry, Amanda; Gould, Mark; Thancoupie; Group, Creative Media; Films, Ronin (2016).
Gaia philosophy views our planet as a living organism, with every component inter-dependent for its health and survival. This pioneering series of short documentaries, first released as Under southern skies in 1990, is even more relevant today: there is now an ever-increasing urgency for us all to be informed about science, to liberate us from a dependence on politicians and corporations. Dr Sue Hanckel is an expert investigator and science communicator who ushers us through her experiences and encounters with scientists and the impassioned grass roots people who live and work with nature. [Episode 1]. Living on a thin thread: Our botanical species are the food source for all living creatures including man. Environmental degradation puts man at risk -- [Episode 2]. DIstinctively Australian: Our botanical adaptation and diversity, from the desert plants of central Australia to alpine snow gums and the treasure house of tropical rainforests -- [Episode 3]. Our botanical history: A self-taught botanical artist inadvertently discovers a living ancient plant in the Daintree rainforest, while selling her work in her tea-house to the tourist trade -- [Episode 4]. Our fragile wilderness: The Walpole Wilderness in the far south of Western Australia, sustains a biodiversity that is greater per hectare than any other part of Australia, with a wild coastline and ancient trees which occur nowhere else in the world -- [Episode 5]. Essential fire: Australia's Indigenous peoples have always used fire to manage land and to ensure food supply. These fires changed many ecosystems, and plants gradually adapted, some becoming dependant on bushfires -- [Episode 6]. Forest for the trees: The challenge of economics vs sustainability: through a local farmer we explore the ""society of trees"" in an old growth forest where a diversity of species are inter-dependant -- [Episode 7]. Appropriate harvesting: Exploring the concept and practice of sustainable agriculture, especially where there has been significant land degradation. It is man's ingenuity and enterprise which generates hope -- [Episode 8]. Custodians of the bush: One of Australia's leading ceramic artists, Gloria Thancoupie (1937-2011), uses clay to express her intricate relationship with her land and its creatures, as well as with the elements of earth, fire and water -- [Episode 9]. Healing is believing: Ceramic artist, Gloria Thancoupie, takes us to her home in Weipa in far north Queensland and with other women of her community, introduces us to 'bush medicine' with great humour and wisdom -- [Episode 10]. Fossil fuels: Exploring the imbalance between our needs as a species and the survival of planet Earth, and searching for sustainable energy sources that can release us from dependence on fossil fuels.
Aspects of a life working with Indigenous Australians. Edols, Michael; Grenville, Kate; Watters, Liz; Adkins, Ian; Gould, Mark; Australia, Film; Films, Ronin (2011).
"These four films by cinematographer and filmmaker, Michael Edols represent a significant and sustained body of work, produced over 16 years, recording the culture and history of Indigenous communities, especially in the Kimberleys, in the north-west of Western Australia. Recruited by Elders from three tribal language groups - Worrora, Wunamble and Ngarinyin - to collaborate with them in making films, Edols and the communities both recorded and reconstructed their culture, past and present, from pre-European contact (in Lalai Dreamtime) to their present dislocated, mission-based lifestyle (in Floating)""--Container. Lalai Dreamtime: takes the viewer into pre-settled Australia to show a myth from the spiritual tradition of the people. It is the story of Namarali, as presented by Sam Woolagoodja to his son Stanley and his granddaughter Kerry. Namarali is the law-giving 'Wandjina' of the Worora people who, along with him, have many other such Wandjinas. The 'Wandjinas' are ancient creators whose presence is real in the painted imprints of cave walls and in the shape of specific land formations. The film shows the importance of the Dreamtime in the Aboriginal culture. The tribal circles of elders of the Wunan lore and law requested that the Edols use film as a means to hold up a mirror to the younger generation, who at that time had left behind their Aboriginal traditions and culture. The intention was to make a direct appeal to their sons and daughters. The elders said that by not listening to ancestral Wandjina wisdom and the lore passed down by them, the younger generation would wander, Floating … like wind blow'em about. A compelling account of the return by a group of dispossessed Aboriginal people to their ancient tribal grounds in the Northern outreaches of this continent. Shows the rebuilding of relationships through a shared pilgrimage to ancestral lands and a traditional Aboriginal ceremony, despite occasional failures of cross-cultural communication. It reflects a community in transition through the journey of a family, especially the remaining custodians of that spirit country: Amy Peters, and also Shirley the daughter of Sam Woolagoodja. This event on film created a unique bond between daughter, grand-daughter, grandfather and aunts right in the middle of their spirit country. The 1988 Australian bicentenary prompted many artistic events and contemporary expressions of Australia's living cultures. One of the most remarkable of these was the first memorial ever created by Aborigines for Aborigines: two hundred bone burial poles were carved and painted by Arnhem land artists to honour the deceased of the past. This unique Aboriginal Memorial captures this spiritual event. This collection seeks to reassure surviving Aboriginal Australians that there is a living continuity of traditions. On September 30, 2010, the National Gallery of Australia in Canberra had its official opening of a new entrance and wing featuring the "forest of 'Dunpuns" and is now seen as a permanent display in the new entrance."
The voyage of Bounty's child. Edols, Michael; Holmes, Cecil; Davies, L. Will; McKern, Leo; Bligh-Ware, Ron; Look Film Productions, production company; Bounty Films, production company; Ronin Films, publisher (2014).
"The year is 1789. In the central Pacific Ocean the crew of Her Majesty's Ship Bounty mutinied against their captain, William Bligh, and cast him adrift with 18 other men in an open boat, 150 kilometres from Tonga. In an extraordinary feat of seamanship and navigational skill, Bligh proceeded to pilot the packed longboat through the cannibal-infested Fiji islands and across to the Australian mainland, landing on Cape York after a dangerous entry through what is now Bligh Passage. After a brief stay, and fearful of the local Aboriginal people, he set sail again, arriving in Dutch Timor from where he and his men took a ship back to England. This epic voyage is re-created in this remarkable documentary classic from 1983 (the year of the production of Mel Gibson's feature film on the Bounty saga). For this documentary, Captain Ron Bligh-Ware, several generations removed from his famous ancestor, put together a crew of eight and sailed in a replica of the open boat, named Child of Bounty, 6,500 kilometres from Tonga to Timor, following Bligh's route across dangerous seas, and through one severe storm, dramatically captured on film. Like Bligh, Captain Ware had a mutinous crew, and the epic journey strained relationships to breaking point -- all frankly documented in this surprisingly honest film. Authored by one of the great figures of Australian cinema in the post-war decades, Cecil Holmes, the film is a superb example of Holmes' literate, witty and inventive writing. The film is equally superbly shot by one of Australian cinema's leading cinematographers, Michael Edols and his team. The film was broadcast in a shortened version by the ABC in Australia, the BBC in the UK, and the PBS network in the USA, but has had no exposure or distribution since the mid-1980s. This 90-minute film is the Director's cut version"--Container.
Kalanda. Ferrarini, Lorenzo (2015).
In some parts of West Africa, hunting is much more than killing animals. A donso is no common hunter, but a healer, a diviner, a ritual specialist and amulet maker. Kalanda is a unique initiatory journey into their knowledge from the perspective of the filmmaker. It was filmed during a year of research in Burkina Faso, thanks to the filmmaker's initiation into donsoya. His teacher becomes a narrator who carries him and the viewer through a variety of experiences that show the richness of donsoya.
Islam, empire of faith. Gardner, Robert; Kotsonis, Stefan; Grupper, Jonathan; Prentice, Patrick; Roughton, Richard; Donegan, Brian; Devillier, Ron; Kingsley, Ben; Becker, Regis; Lionnet, Leonard; Schultz, Christopher; Grossbach, David; Gardner Films, Inc. production company; Public Broadcasting Service, production company; Devillier-Donegan Enterprises, production company; PBS Home Video, publisher (2004).
This three-part program documents the rise and growth of Islam throughout the world, from the birth of Prophet Muhammad in the 6th century through the peak of the Ottoman Empire 1000 years later. Discusses the impact of Islamic civilization on world history and culture.
Dead birds re-encountered. Gardner, Robert; Meyers, Rebecca; Resources, Documentary Educational (2015).
In 1961, Robert Gardner organized an expedition to the Highlands of New Guinea to film the Dani people. He stayed for six months to create an essay on the themes of violence and death most dramatically witnessed within the intense ritual warfare between rival Dani villages, and ultimately on the role of violence in human life and culture. The end result was his seminal film, Dead birds. Twenty-eight years later, Gardner returned to the Dani villages to see what had become of the people he had met and to show them the film. That visit is the kernel for Gardner's latest work, Dead birds re-encountered.
The other side of immigration. Germano, Roy; Schmitz, Ryan; Landeros, Denise; Terrazas, María; Oberst, Conor; My Morning Jacket, musician; Mystic Valley Band, musician; Bright Eyes, musician; Team Love Records, film distributor; RG Films, production company (2010).
"Based on over 700 interviews in rural Mexican towns where about half the population has left to work in the United States, [this film] asks why so many Mexicans come to the U.S. and what happens to the families and communities they leave behind."--Container.
Indian masculinity series. Gill, Harjant; Mehrotra, Rajiv; Sharma, Abhishek; Sandhu, Pearl; Udaybabu, Sonali; Droukas, Chris; Ullah, Rashad; Frame, Open; Doordarshan; Productions, Tilotama; Corporation, Prasar Bharti; Trust, Public Service Broadcasting (2016).
Roots of love / Doordarshan presents ; PSBT, Public Service Broadcasting Trust ; director, Harjant Gill ; script, Harjant Gill, Abhishek Sharma ; made in collaboration with Tilotama Productions ; a Public Service Broadcasting Trust presentation for and in partnership with Doodarshan, Prasar Bharati (2010 ; 26:58) -- Mardistan = Macholand / the Public Service Broadcasting Trust in partnership with Doordarshan, Prasar Bharati Corporation presents ; a film by Harjant Gill ; script, Harjant Gill, Abhishek Sharma ; producer & commissioning editor, Rajiv Mehrotra ; made in collaboration with Tilotama Productions (2014 ; 29:08) -- Sent away boys / the Public Service Broadcasting Trust in partnership with Doordarshan, Prasar Bharati Corporation presents ; director, Harjant Gill ; producer & commissioning editor, Rajiv Mehrotra ; made in association with Tilotama Productions ; a Public Service Broadcasting Trust presentation for and in partnership with Doodarshan, Prasar Bharati Corporation (2016 ; 45:06).
When Billy broke his head. Golfus, Bill; Simpson, David E.; Project, National Disability Awareness; Service, Independent Television (2013).
Billy Golfus, who became brain-damaged in a motor scooter accident, goes on the road to meet people with disabilities around the country and witness first hand what it is really like to live with a disability in America. Personal interviews portray realities, hardships and coping mechanisms in the face of government bureaucracy and pervasive discrimination.
Those who don't work don't make love. Grasseni, Cristina; Anthropology, Granada Centre for Visual; Centre, University of Manchester Media; Ireland, Royal Anthropological Institute of Great Britain and (2009).
"An observational documentary about dairy farmers in the Italian Alps. Caught between pride for tradition and the pressure for modernisation, the story of one family is told through the eyes of teenager Sara, full of hopes and doubts, and of her grandmother, tired and frustrated after a life of hard work" -- Container.
The closer we get. Guthrie, Karen J.; Pope, Nina; company, Somewhere production (2016).
This is a powerful and bittersweet portrait of loyalty, broken dreams and redemption told by its director, reluctantly-dutiful daughter Karen Guthrie, who takes you under the skin of the household she returns to for this long goodbye. Karen’s mother Ann suffers a devastating stroke that brings her daughter back home. But Karen isn’t the only one who comes back to help care for Ann in the crisis: Her prodigal father, the endearing yet unfathomable Ian, who’s been separated from Ann for years, also reappears. Reunited so unexpectedly, and armed with her camera, Karen seizes this last chance to go under the skin of the family story before it’s too late, to come to terms with the aftermath of the secret child her father had tried, and failed, to keep from them all, and to find that Ann’s stroke has in fact thrown them all a life raft.
Torres Strait Islanders. Haddon, Alfred C.; Screen, Australian (2017).
Taken on Alfred Cort Haddon's Cambridge University Expedition to the Torres Strait Islands during September 1898, this is the first film footage of Australian Aborigines. It was shot by Haddon himself. This film shows Torres Strait Islander men performing three dance sequences, one of which is shown in clip one. This is followed by a demonstration of traditional fire-making practices (see clip two). The last part of the film (clip three) shows two short dances performances by young Aboriginal men, who travelled to Murray Island from the mainland on a bêche-de-mer (sea cucumber) fishing boat.
Naim and Jabar. Hancock, David; Di Gioia, Herb; Miller, Norman N.; Dupree, Louis; Staff, American Universities Field; Resources, Documentary Educational (2007).
Focuses on the friendship and activities of two adolescent Afghan boys, Naim and Jabar. One goes to a secondary school away from home and the two are shown visiting the city as well as working in Aq Kupruk.
Chez les sauvages australiens. Jackson, William J.; Films, Mondial; Screen, Australian (2017).
This demonstration film of Aboriginal cultural practices in north-west Western Australia includes a large group of young men performing a processional dance, a small group demonstrating fire-making, imagery of traditional body scarring and a demonstration of watercraft. In the final scene a tall Aboriginal man gracefully climbs a high cliff to the site of a sea eagle's nest. He reaches into the nest and holds up two little chicks to the camera.
Of bards and beggars. Kishore, Shweta; Desai, Yask; Resources, Documentary Educational (2007).
A documentary film about the prayer ritual jagraan, made to the deity Pabuji, a guardian of livestock, as it is performed by folk musicians in Rajasthan. The musicians who perform the jaagran, known as bhopas, are losing their traditional patrons, the nomadic herders of livestock known as Raikas, and the remaining bhopas are forced more and more to perform for foreign and Indian tourists who know little about their craft.
The medicine game. Korver, Lukas; Thompson, Hiana; Thompson, Jeremy; Video, Vision Maker (2013).
Two brothers, Hiana and Jeremy thompson, from the Onondaga Nation, pursue their dreams of playing lacrosse for Syracuse University. In their culture, lacrosse is known as "Deyhontsigwa’ehs," and it was invented even before the earth existed as an entertainment for the creator. The brothers find that the obstacles in their way are frequent and daunting, but their love for the game, each other and thier family's unyielding determination, propels these young men toward their dream.
The living fire. Kostyuk, Ostap; Kofman, Gennady; Ukrainian State Film Agency, production company; MaGiKa Film, production company; Films Media Group, publisher (2016).
With the thick snow melting in the breathtaking Carpathian Mountains of Ukraine, spring is approaching and three men must prepare for an arduous journey up into the mountains. The Living Fire is the tale of three shepherds, each at a different stage in his life. Bound by tradition, they reflect on the meaning of their own existence as the contemporary world encroaches on their remote community and threatens to destroy their way of life.
Coming home Angirattut. Kunuk, Zacharias; Cohn, Norman; Frantz, Jonathan; Inc, Kingulliit Productions; Network, Nunavut Independent TV; Inc, Isuma Distribution International; Tape, V. (2015).
After being relocated from their homeland 5 decades ago and dispersed throughout Nunavut, a group of elders return to Siugarjuk and embrace the restorative power of their homeland to heal personal loss. In doing so they share their life history and oral history of an ancient way of life to help the next generation of Inuit meet the challenge of survival in the 21st century. Award-winning Igloolik filmmaker Zacharias Kunuk follows this homecoming voyage to celebrate his ancestors and their life on the land.
The goddess & the computer. Lansing, John Stephen; Singer, André; Kremer, James N.; Associates, Independent Communications; Resources, Documentary Educational (2007).
Examines centuries-old traditions of rice farming on Bali in which water is considered a gift from a goddess and is controlled by priests. The importance of this religious system of irrigation came to light only after newly introduced methods of rice farming were introduced as a result of the green revolution and production decreased while pests multiplied. A computer modeling system was developed which confirmed the wisdom of the old traditions.
Diary of a Maasai village. Llewelyn-Davies, Melissa; Curling, Chris; Lemire, Maureen; Corporation, British Broadcasting; Resources, Documentary Educational (2009).
A study of life in a Maasai village as a representation of the Maasai people in Kenya. An attempt to describe a moment in the history of the Laibon's family.
Some alien creatures. MacDougall, David (2005).
Shot in 2004, a film about the famous experimental, co-educational boarding school in South India, the Rishi Valley School, founded by the influential Indian thinker Krishnamurti. In this film about a progressive co-educational boarding school in South India, young boys and girls jokingly accuse each other of being like "alien creatures." In exploring this divide the filmmaker, David MacDougall, examines the lives of three boys at the school: Ashutosh, aged 10, Anjney, aged 12, and Deepak, aged 14. The engaging portraits that emerge reveal the thoughts and resourcefulness of the boys as well as their problems, dreams, and daily activities. The film gives an insight into contemporary Indian childhood. At the same time, it presents the everyday reality of one of India's most famous schools, founded on the educational ideas of Krishnamurti, one of India's most prominent 20th century thinkers. The film will be especially useful in opening up discussions about gender relations
Under the palace wall. MacDougall, David; Films, Fieldwork; Project, Observation; Royal Anthropological Institute of Great Britain and Ireland, publisher (2014).
From the 16th century, the Indian village of Delwara in southern Rajasthan was ruled as a principality of the kingdom of Mewar. Its imposing palace, which overlooks the village, is now a luxury hotel -- a world remote from the daily life of the villagers. Following on from his film SchoolScapes, ethnographic filmmaker David MacDougall here employs a masterful series of precisely observed scenes to explore Delwara's local primary school and contemporary village life. Conventional documentary filmmaking practices are set aside here. There are no interviews and no narration.However, the beautifully composed, arresting imagery, mesmerizing background sounds and conversations, and incisive, thought-provoking editing juxtapositions powerfully convey to the viewer not just the surface of Delwara's daily life, but also its inner dimensions and rhythms, all of which unfold 'under the palace wall.'
Arnav at six. MacDougall, David; Koshy, Arnav (2014).
"Filmed as a collaborative project between ethnographic filmmaker, David MacDougall, and the six-year old Arnav Koshy, this film explores Arnav's keenly observant view of the complex world around him. Arnav is fascinated by the geology, plant-life, and ecology of the area in which he lives: a dry and rocky region of Andhra Pradesh in South India. Made in a direct and unobtrusive style, the film is both an engaging interactive encounter between a child and an adult, and a compelling demonstration of Arnav's enquiring mind and his emerging understanding of life. This delightful and deceptively simple film is a distinctive contribution to the remarkable body of work that David MacDougall has made with and about children in India since his landmark DOON SCHOOL CHRONICLES (2000)."--Publisher's website.
Stockman's strategy. MacDougall, David; MacDougall, Judith; Bancroft, Sunny; Australian Institute of Aboriginal Studies. Film Unit, production company; Royal Anthropological Institute of Great Britain and Ireland, publisher (2000).
Explores the philosophy of teaching and learning of "Sunny" Bancroft, Aboriginal manager of "Collum Collum", a cattle station operated by an Aboriginal co-operative in northern NSW. Also tells the story of Shane Gordon, a 16 year old apprentice as he takes his first steps towards becoming a stockman under Sunny's guidance. Builds a vivid picture of life on the station.
A transfer of power. MacDougall, David; MacDougall, Judith; Australian Institute of Aboriginal Studies, production company; Royal Anthropological Institute of Great Britain and Ireland, publisher film distributor (2009).
When replacing a car engine, two men tackle the task in a distinctively Aboriginal way by showing a characteristic sense of the event as an affirmation of continuing relationships.
Collum calling Canberra. MacDougall, David; MacDougall, Judith; Corporation, Collum Collum Aboriginal; Unit, Australian Institute of Aboriginal Studies Film; Ireland, Royal Anthropological Institute of Great Britain and (2010).
An account of Aboriginal people steering their way through the often frustrating processes of official decision-making-- as seen from their viewpoint. Gordon Smith, head of the co-operative that runs "Collum Collum" station in northern New South Wales, and "Sunny" Bancroft, its manager, are trying to get a government loan to stock the property with breeding cattle so that it can become financially independent.
Sunny and the dark horse. MacDougall, David; MacDougall, Judith; Australian Institute of Aboriginal Studies. Film Unit, production company; Royal Anthropological Institute of Great Britain and Ireland, publisher (2010).
The story of an Aboriginal stockman and his family, including his non-Aboriginal wife, Liz, and their growing passion for "picnic racing" on bush tracks in New South Wales. Filmed at Collum Collum, an Aboriginal-operated cattle station in north-eastern New South Wales.
Three horsemen. MacDougall, David; MacDougall, Judith; Saunders, Ray; Royal Anthropological Institute of Great Britain and Ireland, publisher; Australian Institute of Aboriginal Studies, production company; Australian Institute of Aboriginal and Torres Strait Islander Studies, film producer (2012).
Three horsemen is one of several films that the MacDougalls made in and around Aurukun in the far north of Queensland. It is a deeply moving portrait of three generations of Aboriginal stockmen at Ti-Tree station, 80km south of Aurukun, a former cattle out-station of Aurukun Mission and now a settlement for people who regard Ti-Tree as their home. Bob Massey Pootchemunka, about 75 years old, has lived and worked all his life on cattle stations. He has a strong vision of Ti-Tree becoming a sustainable cattle station and feels a strong responsibility to teach "the proper way" to run the place, whether it be looking after leather-gear, mending fences or clearing scrub. Eric Pootchemunka, aged 46, is Bob's nephew. He shares Bob's vision and works hard to teach younger people to be good horsemen and to develop a sense of Ti-Tree as their own place. Ian Pootchemunka, aged 13, is Eric's son. He keenly feels a responsibility to learn as much as he can, as fast as he can, and is aware that he embodies the hopes that Bob and Eric have for Ti-Tree's future. "The Aurukun films are related to the complex process of the Aboriginal community there struggling to maintain and transmit its autonomy, culture and land. ... (Three horsemen) is a deeply metaphoric study of the precarious hopes and fragile demographic basis of transmitting Aboriginal cultural continuity." (Fred R. Myers in Cultural Anthropology, vol 3, no 2, May 1988, pp 206-212).
Awareness. MacDougall, David; MacDougall, Judith; Fieldwork Films, production company; Observation Project, production company; Royal Anthropological Institute of Great Britain and Ireland, publisher (2013).
Filmed in South India at Rishi Valley School, founded by the 20th century Indian thinker Jiddu Krishnamurti, the film explores the sensibilities of two groups of young Indian teenagers - a group of girls in their dormitory, and a group of boys in theirs - as they live out their daily experiences at the school. The two groups were filmed separately by David and Judith MacDougall over a period of several months. The film highlights gender differences at a critical stage of adolescence and demonstrates how Krishnamurti's encouragement of each individuals' awareness is played out at the school. This intimate and illuminating documentary continues David MacDougall's examination of education and adolescence at the Rishi Valley School (see also Some Alien Creatures and SchoolScapes).
The Hunters. Marshall, John; Gardner, Robert; Center, Harvard University Film Study; Incorporated, Films; Resources, Documentary Educational (2007).
In this classic documentary, the Kalahari Bushmen of Africa wage a constant war for survival against the hot arid climate and unyielding soil. 'The Hunters' focuses on four men who undertake a hunt to obtain meat for their village. The chronicle of their 13-day trek becomes part of the village's folklore, illustrating the ancient roots and continual renewal of African tribal cultures. The film was photographed during a Peabody Museum, Harvard-Smithsonian expedition to the Kalahari Desert of South West Africa led by Laurence Marshall.
Bitter melons. Marshall, John; Marshall, Lorna; Ethnology, Peabody Museum of Archaeology and; Institution, Smithsonian; Anthropology, Brandeis University Center for Documentary; Resources, Documentary Educational (2007).
Portrays the difficulty of survival in the central Kalahari Desert in Botswana. A native musician, a member of a Bushman group called the G/wi, performs songs about animals, the land, and daily life. Describes the G/wi, traditional music, dances, children's games, and hunting, planting, and food preparation.
A Kalahari family. Marshall, John; Ritchie, Claire; N!ai; Tsamkxao; Baskin, Rena; Productions, Kalfam; Resources, Documentary Educational (2002).
In 1951, Laurence and Lorna Marshall and their two children, Elizabeth and John, set out to find the Bushmen of the Kalahari Desert. Their aim was to study and document their life and culture. While in Nyae Nyae the Marshall family documented everyday life as well as unusual events and activities, producing a massive body of work that continues to define the fields of anthropology and ethnographic filmmaking today. Encapsulating 50 years of Namibian history, A Kalahari Family represents a lifetime of documentation, research, and personal contact by filmmaker John Marshall.
Circle of poison. Mascagni, Evan; Post, Shannon; Kucinich, Elizabeth; Weir, David; Carter, Jimmy; Cappezera, Nick; Halperin, Dan; Gurung, Diwas; Player Piano Productions, production company publisher (2016).
"Pro-business loopholes allow the American chemical industry to export pesticides to other countries even after they'd been federally banned for their harmful effects. On top of damaging already-marginalized communities abroad, produce treated with these chemicals often returns to the US unchecked, threatening American lives. Grassroots activists all over the world are fighting back, and Evan Mascagni and Shannon Post's Circle of Poison amplifies their voices, setting the record straight on an international menace to human health""--Environmental Film Festival website. Examines the problem of pesticides banned in the United States due to their toxicity but legally exported to other countries for use, focusing on collusion between the federal government and the pesticide industry. Shows how food grown with pesticides in foreign countries is then exported back to the United States, creating a circle of poison. Looks at the efforts of activists attempting to put an end to this practice."
Nanook revisited. Massot, Claude; Regnier, Sebastien; Productions, I. M.A.; SEPT; Sciences, Films for the Humanities &. (2005).
The filmmakers revisit Inukjuak, the Inuit village where Flaherty filmed Nanook of the North. Examines the realities behind the ground-breaking documentary and the changes since it was made almost 70 years ago. Shows the reactions of the Inuit living in the village, to the film, and also looks at the inaccuracies and staged scenes which director Robert Joseph Flaherty created in the original film.
De bende van Rouch Rouch's gang. Meyknecht, Steef; Nijland, Dirk; Verhey, Joost; Bregstein, Philo; Rouch, Jean; Zika, Damouré; Dia, Lam Ibrahim; Mouzourane, Tallou; Hamidou, Moussa; Graaffe, Tom de; Produkties, M. M.; Televisie, IKON; Resources, Documentary Educational (2007).
In 1991 Jean Rouch started work on his new feature film Madame l'Eau, much of which was shot in Holland. The documentary Rouch's Gang follows the film crew and provides a glimpse behind the scenes as Jean Rouch and his four friends from Niger make their film. By providing an outsider's view of Madame l'Eau, the documentary provides insight into how Rouch approaches his films. ... Most of his fiction films were shot with four African friends: Damouré Zika, Lam Ibrahim Dia and Tallou Mouzourane as actors and Moussa Hamidou as sound man. Rouch has been their friend for more than forty years. This bond is the theme of the documentary Rouch's Gang ..."--Container.
Notes on blindness. Middleton, Peter; Spinney, James; Brett, Mike; Ellison, Jo Jo; Usborne, Alex; Hull, John M.; Hull, Marilyn; Skinner, Dan; Kirby, Simone; Archer's Mark, production company; Curzon Artificial Eye, publisher (2016).
After losing his sight in the early 1980s, John Hull knew that if he didn't learn to understand blindness, it would destroy him. He began keeping an audio diary.
Between fences. Mograbi, Avi; Laemlé, Camille; Lalou, Serge; Alon, Chen; Bellaiche, Philippe; Avi Mograbi Films, presenter production company; Films d'ici, presenter production company; Torch Films, publisher (2016).
Holot (Hebrew for "Sands") is a detention center in the middle of the Israeli desert that was built to quickly address an influx of African asylum seekers, mostly refugees from Eritrea and Sudan. The migrants in Holot have no legal status in Israel, and the government seems to have no plan to grant them asylum, so they remain in an indefinite state of limbo. Into this Beckettian reality enter theater director Chen Alon and filmmaker Avi Mograbi. Their team begins to engage the refugees with Theater of the Oppressed, a unique method that uses the refugees own personal stories as a basis, and techniques like re-enactment, dramatization, and role-reversal as a way to foster expression and understanding. The film proposes Theater of the Oppressed as a lens for seeing deeper into the current refugee crisis. As the refugees begin to share and re-enact their dramatic experiences of persecution, exile, and escape from death, and some of the absurd, racist, and even cruel ways in which they are treated upon arrival in Israel, their reflections show a wide range of emotional and psychological impacts. What emerges is an intimate, and rare, portrait of their lives.
The last communist. Muhammad, Amir; Singh, Hardesh; Films, Red (2006).
A semi-musical documentary inspired by the early life and legacy of Chin Peng (Ong Boon Hua), exiled leader of the banned Communist Party of Malaya. Includes Interviews with the people in the town he lived in from birth to national independence and specially composed songs in the fashion of propaganda films.
Apa khabar orang kampung Village people radio show. Muhammad, Amir; Tan, Chui Mui; Pictures, Da Huang; Films, Objectifs (2007).
A portrait of life in a tranquil South Thailand village, where the retired Malay-Muslim members of the Communist Party of Malaya (CPM) live in exile. Recollections of the decades-long guerrilla war are interspersed with excerpts from a Thai soap opera inspired by Shakespeare's A Winter's Tale.
The broken moon. Negrão, Marcos; Rangel, André; Enigma Filmes, production company presenter; Films Media Group, publsiher (2016).
As the sun beats down and the wind whips dust into his eyes, Sonam, a Himalayan nomad, struggles across an arid landscape. Yet life here was not always like this. The climate changed, turning his once beautiful world into a desert. Now Sonam and his people face a desperate struggle to survive or must leave their homeland behind. Offers a startling glimpse of one of the most remote corners of the planet.
Cunnamulla. O'Rourke, Dennis; Australia, Film; Limited, Camerawork; Program, Film Australia National Interest (2006).
Sometimes sad, often hilarious, Cunnamulla is an astonishingly honest portrait of life in an isolated community in outback Queensland. Cunnamulla, 800 kilometres west of Brisbane, is the end of the railway line. In the months leading up to a scorching Christmas in the bush, there's a lot more going on than the annual lizard race. Arthur patrols the sunbaked streets in his Flash Cab, the only taxi in town. His wife Neredah knows everyone's business and tells it all. Marto, the local DJ, is into heavy metal and body piercing. His girlfriend Pauline sticks up for him, but her parents don't approve. Jack, a pensioner who adopted Marto as a baby, wants him to get a steady job with the local council. Cara and Kellie-Anne have dropped out of school. They're trying not to get pregnant and longing for the day they can escape to the city. Paul is just 18 and about to go to jail for the first time. Herb, the scrap merchant who lives alone with his dogs and guinea fowls, wages endless battles with the "bloody government." Now he's at odds with Ringer, the tow's official dog-catcher and undertaker. In Cunnamulla, Aboriginal and white Australians live together but apart. Creativity struggles against indifference, eccentricity against conformity.
Land mines a love story. O'Rourke, Dennis; Schoenberg, Arnold; Raphael Ensemble, performer; CameraWork Pty Ltd, production company; Film Finance Corporation Australia, presenter; Direct Cinema Ltd., publisher; Australian Broadcasting Corporation, production company (2006).
The film is the story of an Afghan couple, Habiba and Shah, and how they cope with life in their war-torn country, a world of sanctioned violence and official lies. Shah, a former Mujaheddin soldier and land mine victim, works as a cobbler on the pavements of the ruined city of Kabul. One day, he noticed a pretty Tajik girl who had only one leg, and he began to court her. Amidst the chaos and violence, and despite all the obstacles of tradition and religion, Shah and Habiba were able to marry.
I am not your negro. Peck, Raoul; Baldwin, James; Grellety, Rémi; Peck, Hébert; Strauss, Alexandra; Adebonojo, Henry; Ross, Bill; Ross, Turner; Aĭgi, Alekseĭ; Jackson, Samuel L.; Belafonte, Harry; Brando, Marlon; Cavett, Dick; Bush, George W.; Velvet Film GmbH, production company; Artémis productions, production company; ARTE France, production company; Radio-télévision suisse, production company; La Radio-Télévision belge de communauté culturelle française, production company; Kino Lorber Edu, publisher (2017).
"I AM NOT YOUR NEGRO is an examination of racism in America through the lens of James Baldwin's unfinished book, REMEMBER THIS HOUSE. Intended as an account of the lives of Medgar Evers, Malcolm X, and Martin Luther King, Jr., each of whom James Baldwin personally knew, only a 30-page manuscript of the book was ever completed. Combining Baldwin's manuscript with footage of depictions of African-Americans throughout American history, I AM NOT YOUR NEGRO uses Baldwin's words to illuminate the pervasiveness of American racism and the efforts to curtail it, from the civil rights movement to #BlackLivesMatter. Narrated by Samuel L. Jackson, I AM NOT YOUR NEGRO explores the continued peril America faces from institutionalized racism."--Container.
Almost famous. Pestana, Mark; Png, Kenny; Tan, Marilyn; Yang, Angus; Chuwa, Elvin; Kersten, David; Pictures, Vertigo; Films, Objectifs (2010).
Asians are speaking their mind while finding their voices in unlikely or alternative forms of expression. This DVD looks at the stories of 16 characters who thrive in a parallel world they inhabit. Episode 1 explores how "Kathoeys" or "Ladyboys," Thai transgendered men, are trying to shake off their stereotypes as mere instruments of entertainment. Ladyboys occupy a precarious position in the Thai social landscape. While alienated as outcasts, they are an important feature in the package of images making up "Amazing Thailand". Episode 2 looks at Taiwan's heavy metal rock music scene. Episode 3 feaures the stories of 3 Indian women documentary filmmakers. Episode 4 shows that as Cosplay (costume + play role games) has become a global phenomenon, Japanese cosplayers are frowned upon in their own country for intentionally choosing not to comply with the norms a deeply entrenched value of social conformity.
Cochengo Miranda. Prelorán, Jorge; Cortazar, Augusto Raúl; Miranda, Cochengo; La Pampa . Ministerio de Cultura y Educación, presenter; Ethnographic Film Program, presenter; Documentary Educational Resources, publisher (2011).
Tells the story of Cochengo Miranda, his life and family, in the province of La Pampa, Argentina. They live on a cattle farm with the nearest neighbor being 10 miles away.
Zulay facing the 21st century. Prelorán, Jorge; Prelorán, Mabel; Saravino, Zulay; Documentary Educational Resources, publisher (2011).
Zulay Sarvino is part of a family of weavers in the Quinchuqui village of the Otavalo region in the Andean highlands of Ecuador. The film shows her family's life in the first half, but in the second half Zulay accompanies the filmmakers back to Los Angeles to seek out new markets for their weavings.
Japigia Gagì. Princigalli, Giovanni; Di sociali, Università Bari Dipartimento scienze storice e.; Di sociale, Bari Dipartimento solidarietà; Produzioni, Princigalli; Resources, Documentary Educational (2007).
"In Japigia, a neighborhood in the periphery of Bari, Italy, a small community of Roma (Gypsies) carve out an existence in an illegal, ramshackle encampment. The local church has offered them a piece of land with prefabricated houses, but the town hall is preventing this offer due to their own plans for a future ... railway station. Continually in danger of evacuation and making a living primarily by begging for money, the Roma still manage to foster a strong community and lively social atmosphere."--Container.
Fuocoammare = Fire at sea. Rosi, Gianfranco; Palermo, Donatella; Lalou, Serge; Laemlé, Camille; Cattani, Carla; Pucillo, Samuele; Cucina, Mattias; Entertainment, Stemal; film, 21 uno; Luce-Cinecittà, Istituto; Cinema, R. A.I.; d'ici, Films; cinéma, Arte France; Eye, Curzon Artificial (2016).
Capturing life on the Italian island of Lampedusa, a frontline in the European migrant crisis. Located 70 miles from the African coast and 120 miles from the island of Sicily, many migrants land there on their way to Europe.
Fuocoammare = Fire at sea. Rosi, Gianfranco; Palermo, Donatella; Lalou, Serge; Laemlé, Camille; Pucillo, Samuele; Cucina, Mattias; Caruana, Samuele; Fragapane, Giuseppe; Signorello, Maria; Paterna, Francesco; Quadri, Jacopo; Zambenedetti, Alberto; 21Uno Film, production company; Stemal Entertainment, production company; Istituto Luce-Cinecittà, production company; RAI Cinema, production company; Films d'ici, production company; Arte France cinéma, production company; Kino Lorber, Inc. publisher (2017).
Capturing life on the Italian island of Lampedusa, a frontline in the European migrant crisis. Located 70 miles from the African coast and 120 miles from the island of Sicily, many migrants land there on their way to Europe.
Omo child. Rowe, John; Rowe, Tyler; Labuko, Lale; Group, Films Media (2016).
In Ethiopia's Omo Valley, children are being killed horrifically under an ancient tradition known as 'mingi'. Teeth growing in a certain order can bring a child a death sentence. One young tribesman, Lale Labuko, strives for change through education and adopting the cursed children. But challenging tribal superstition isn't easy and as he battles to save lives, things are not all that they seem. This clever film will stay with you long after you watch it.
Life in an Italian hill town. Russell, Marjorie Haw; Russell, George H.; Soare, Thomas F.; Educational Video Network, Inc (2004).
A look at the history of and daily life in Gioviano, a small town in the Italian Garfagnana. Shows how the traditional way of life has persisted and altered.
The year of the hunter. Starowicz, Mark; Softly, Pat; Huculak, Maggie; Feore, Colm; Inukpuk, Adamie; Campbell, Ian W.; Unit, Canadian Broadcasting Corporation Documentary; Sciences, Films for the Humanities &. (2004).
This documentary tells the story of the making of Robert Flaherty's Nanook of the North and of the Inuit from Port Harrison who starred in the film. Clips from the original motion picture are interspersed with dramatizations in which Adamie Inukpuk, Nanook's great-grandson, plays the famed hunter.
Bury the spear!. Strecker, Ivo A.; Pankhurst, Alula; Center, South Omo Research; Resources, Documentary Educational (2004).
"Focuses on the 1993 peace-making efforts of the Abore, Borana, Konso, Tsamai, Hamar and Dasanach to end decades of ethnic war in the southern Ethiopian Rift Valley."--Container.
Behind the blue veil. Symon, Robyn; Dahmane, Mamatal Ag; Group, Films Media (2016).
The Tuareg people of the Sahara Desert are one of the world''s last truly nomadic tribes. But their way of life is now under greater threat than ever before, from economic exploitation, from environmental catastrophe, from the scorn of their own government, from Islamist militants, and perhaps most of all from the relentless march of modernity. This revealing film documents the remaining fragments of Tuareg culture and examines a people's struggle for survival from a variety of perspectives. The film follows Mamatal, the son of a chief, as he fights to preserve his people's culture.
The bull and the ban. Tosko, Catherine; Rule, Bob; Strubell, Antoni; Barceló Verea, Marilén; Bosch, Alfred; Rivera Ordóñez, Francisco; Suerte Films, production company; com, Amazon (2016).
Investigates how, in 2012, Catalonia became the first mainland state in Spain to ban bullfighting. Explores the reasons for this change, including how Spain has antagonized the Catalonia region with language bans and political prosecution, causing the region to eschew the values of the rest of Spain.
The Australian Institute of Aboriginal and Torres Strait Islander Studies Ethnographic Collection. Trench-Thiedeman, Bernadette; Films, Ronin; Kanopy (2016).
The Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) is the world's premier institute for information and research about the cultures and lifestyles of Aboriginal and Torres Strait Islander peoples, past and present. The Institute undertakes and encourages scholarly, ethical community-based research, holds a priceless collection of films, photographs, video and audio recordings and the world's largest collections of printed and other resource materials for Indigenous Studies, and has its own publishing house. Its activities affirm and raise awareness among all Australians, and people of other nations, of the richness and diversity of Australian Indigenous cultures and histories. The AIATSIS Collection includes some of the most significant works of ethnographic film produced in Australia.
Tough bond. Vandenberg, Anneliese; Peck, Austin; Beat, Village; Group, Films Media (2016).
The film follows 4 kids who find family and a new identity as Survivors, living together on the streets of Kenya, huffing glue to endure the hell of street life. Recorded over 3 years, Tough Bond illustrates the alarming trajectory of the new generation of Kenya's indigenous tribes that has abandoned its broken villages in search of a new life in the nearby towns and exploding city slums. Calling themselves Survivors, our characters take us deep into the parallel world they've created for themselves on the streets-- a brutal playground held together by a code of responsibility to no one but each other, borne from rejection by their community and cold neglect by their government.
Sastun. Verweyen, Guido; Langsdorff, Eva; Epstein, Nadine; Arvigo, Rosita; Panti, Elijio; Resources, Documentary Educational (2007).
Sastun tells the story of American herbalist Rosita Arvigo, whose quest to explore the healing powers of plants led her to the rain forest of Belize where she befriended one of the last remaining Maya shamans, Don Elijio Panti.
Best and most beautiful things. Zevgetis, Garrett; Garfinkel, Ariana; Consiglio, Jeff; Salvatoriello, Jordan; Smith, Michelle; Strickland, Tyler; Features, First-Run; Productions, Only Bright; Street, Beacon (2017).
Off a dirt road in rural Maine, a precocious 20-year-old woman named Michelle Smith lives with her mother Julie. Michelle is quirky and charming, legally blind and diagnosed on the autism spectrum, with big dreams and varied passions. Searching for connection, Michelle explores love and empowerment outside the limits of 'normal' through a provocative sex-positive community, and prides herself in being a kinkster and pansexual.
Shui shu = Writing in water. 王童性; 刘澜波; Zito, Angela; Wang, Tongxing; Liu, Lanbo; Group, Films Media (2016).
Follows two generations of Chinese calligraphy teachers, Wang Tongxing and Liu Lanbo, through the eyes of an American anthropologist who learned to write with them in Tuanjiehu Park, Beijing, where they practice writing on the plaza every day. The program introduces viewers to these funny, philosophically inclined teachers and their community of retired students who have been left behind by China's get-rich quick reforms. With their students, Wang and Liu connect past to present, master to pupil, friend to friend, while building community and making Chinese characters that slowly materialize, and that last long after the water has evanesced into air. The film explores essential questions about tradition, contemporary culture, and human connection.
Isuma Inuit Classic Collection. Zacharias Kunuk (1987-2007).
Twenty years of Inuit films by Zacharias Kunuk and Igloolik Isuma Productions. This collection includes Atanarjuat The Fast Runner, winner of the 2001 Cannes Film Festival Camera d’or; The Journals of Knud Rasmussen, Opening Night selection of the 2006 Toronto International Film Festival; the 1994-95 classic 13-episode TV series, Nunavut (Our Land); and sixteen short films and documentaries including Kiviaq vs Canada, Kunuk Family Reunion, My First Polar Bear, Shaman Stories and Urban Inuk.
Voices of the gods. Al Santana (2007).
This documentary captures the rich legacy of ancient African religions practiced today in the United States. It provides rare insights into the practices and beliefs of the Akan and Yoruba religions and illustrates how mass media has been used to denigrate these belief systems. Includes an intimate and respectful study of an Egungun ancestral communion ceremony and daily life in the Yoruba village of Oyotunji in Sheldon, South Carolina, the only traditional African village of its kind in the U.S. today.
Women of vision 18 histories in feminist film and video. Alexandra Juhasz (2005).
Profiles a variety of women active in independent-feminist film and video, including production, distribution and education, whose work expresses a variety of political and esthetic viewpoints. The three part video begins by profiling 6 women whose careers began in the Fifties and Sixties, then six women whose work coincided with the emergence of the women's movement in the Seventies and six women whose careers began in the Eighties and Nineties.
Human Sacrifice. André Singer and Tom Sheahan (2013).
The documentary gives insight into the ancient rituals and religious practices involved in human sacrifice. The Forbidden Rites trilogy explores cannibalism, head hunting and human sacrifice. This series includes first-hand accounts, expert interviews, and rarely seen footage. It reveals the legends behind man-eating tribes, headhunters in jungles of Ecuador and sheds light on the link between human sacrifice and salvation. The series looks at rituals considered important and acceptable to one society but regarded, particularly in the West, as unacceptable and even abhorrent. The aim is to look at the differences and get explanations from practitioners in other societies as to why such rituals worked for them.
Yurumein = Homeland. Andrea Leland (2014).
"The Black Caribs are a little known ethnic group. Yurumein (Homeland) is a 50-minute documentary that recounts the painful past of these Carib people - their near extermination at the hands of the British, the decimation of their culture on the island, and the exile of survivors to Central America over 200 years ago. ... Yurumein follows members of the Garifuna Diaspora as they attempt to rekindle a disappeared culture and revitalize its language, dance and music. The film reveals signs of resilience as local Caribs come together to celebrate and honor their Garifuna past, and in doing so, begin the journey of healing, rebuilding, and preserving the homeland. Yurumein is a post-colonial story of re-identification and cultural retrieval among the indigenous Caribs/Garifuna in the Caribbean" --Container.
Mr. Coperthwaite: A life in the Maine woods. Anna Grimshaw (2014).
"In 1960, Bill Coperthwaite bought 300 acres of wilderness in Machiasport, Maine. Influenced by the poetry of Emily Dickinson and by the back to the land movement of Scott and Helen Nearing, Bill Coperthwaite is committed to what he calls a handmade life. For the last fifty years, Bill Coperthwaite has lived and worked in the forest. He is a builder of yurts, and a maker of spoons, bowls and chairs. A meditation on time and process, this film explores an overlooked aspect of American culture and the critical place of nature within it."--Anonymous, on IMDb website.
A spell to ward off the darkness. Ben Rivers (2015).
Viewers follow an unnamed character through three seemingly disparate moments in his life: in the midst of a fifteen-person collective on a small Estonian island in isolation in the majestic wilderness of Northern Finland and during a concert as the singer and guitarist of a black metal band in Norway.
Hi-fi rise sonic cities from another timeline. Ben Rivers (2001).
Features 14 moving image works, 8 by Semiconductor themselves and 6 from guests artists. Retropolis takes viewers through an imaginary London where all they see and hear is the electricity passing through millions of flickering light bulbs. Linear links the sub-atomic world of the String Theory to urban landscapes through the vibrations of sound.
Two years at sea. Ben Rivers (2013).
Using 16mm cameras, artist Ben Rivers documents the solitary existence of Jake, a man who lives in isolation in the middle of a remote forest. The film follows his unconventional life, capturing moments of profound beauty. Jake is seen in all seasons, surviving frugally, passing the time with strange projects, living the radical dream he had as a younger man, a dream he spent two years working at sea to realize.
We are all related here. Brian McDermott (2015).
"The story of the Yup'ik people of Newtok, Alaska, who are being forced to relocate their village due to the erosion and flooding they are experiencing as a result of global warming. We meet some of the people who are being called America's first 'climate refugees, ' and learn about the history and culture of the Yup'ik people of Newtok, who are being forced to relocate their village due to the erosion and flooding they are experiencing as a result of global warming."--Film's website.
Dervishes of Kurdistan. Brian Moser (2013).
The village of Baiveh, in Iran's rugged mountain frontier with Iraq, is home to a group of Kurds who belong to the Quadiri dervishes, a mystical cult of Islam. This program examines the role that religion plays in their daily lives - through ceremonies like the Zikr, in which the dervishes work themselves into an ecstatic trance, able then to endure electric shocks and pass skewers through their flesh without apparently hurting themselves. The dervish tribesmen claim fantastic powers for their leader, the 27-year old Sheikh Hossein - for him, they will skewer their faces, slash their bodies, lick white-hot spoons, and eat glass. Since religious power goes hand in hand with political power in traditional Kurdish society, the sheikh is both spiritual and temporal leader. And as Hossein claims a personal link with God, his religious authority is paramount - only by his authority can a dervish aspire to communion with God.
Unnatural causes is inequality making us sick?. California News Reel (2008).
A four-hour documentary series arguing that "health and longevity are correlated with socioeconomic status, people of color face an additional health burden, and our health and well-being are tied to policies that promote economic and social justice. Each of the half-hour program segments, set in different racial/ethnic communities, provides a deeper exploration of the ways in which social conditions affect population health and how some communities are extending their lives be improving them" -- Container insert.
Aral fieldworks. Carlos Casas (2011).
Captured on location in 2004 and 2005 in the Aral Sea watershed in Karakalpakstan, Uzbekistan. These films are a part of an ongoing experimental series with ambiental video and radio frequencies, a sort of landscape video notes. The filmmaker tries to capture the atmospheric qualities of a landscape through visual and audio field recordings captured on location.
Aral: Fishing in an invisible sea. Carlos Casas (2006).
A documentary film about the three remaining generations of fishermen of the Aral Sea, who live in Moynak, Karakalpakistan. The film shows their everyday struggle to survive in one of the scarcest places on the planet. The Aral Sea waters shrunk by 80% when the Soviet authorities allowed over-irrigation in the first half of the 20th century, leaving behind a polluted desert.
Hunters since the beginning of time. Carlos Casas (2008).
Along the coast of the Bering Sea a community of whale hunters are struggling to survive and to keep alive a millenary tradition. This film follows a year in their life.
Patagonian fieldworks. Carlos Casas (2011).
Captured on location in 2002, 2005 and 2010 in Patagonia, Argentina. These films are a part of an ongoing experimental series with ambiental video and radio frequencies, a sort of landscape video notes. The filmmaker tries to capture the atmospheric qualities of a landscape through visual and audio field recordings captured on location.
Rocinha. Carlos Casas (2005).
Rocinha is the most notorious and populated favela in Rio de Janeiro. It occupies one of the most privileged and expensive areas of the city, but many of its residents live an alternative vision in their everyday fight against the stereotypes of poverty, drugs and violence. Features interviews with the residents.
Siberian fieldworks. Carlos Casas (2011).
Captured on location during 2006-2007 in Chukotka, Siberia, Russian Federation. This film is a part of an ongoing experimental series with ambiental video and radio frequencies, a sort of landscape video notes. The filmmaker tries to capture the atmospheric qualities of a landscape through visual and audio field recordings captured on location.
Solitude at the end of the world. Carlos Casas (2007).
In Tierra del Fuego, Argentina, one of the least populated regions of the world, a few men live in total solitude, spending months and months alone. This documentary tells the story of three of these men. Isolated from the world for different reasons, they survive in a suspended time of their own.
No home movie. Chantal Akerman (2015).
"Chantal Akerman's final film is a portrait of her relationship with her mother Natalia, a Holocaust survivor and familiar presence in many of her daughter's films."--Container.
Un jour Pina a demandé ... Chantal Akerman (2013).
Chantal Akerman's look at the work of choreographer Pina Bausch and her Wuppertal, Germany-based dance company.
De l'autre côté. Chantal Akerman (2016).
Using technology developed for the military, the flow of illegal immigration into San Diego has been stemmed. But for the desperate, there are still the dangerous deserts of Arizona, where Chantal Akerman shifts her focus.
D'est. Chantal Akerman (2016).
Filmmaker Akerman makes a voyage from East Germany, across Poland and the Baltics, to Moscow, shortly after the collapse of the Soviet Bloc.
Down there. Chantal Akerman (2016).
According to director Chantal Akerman, she never planned to make a film in Israel. She was convinced that neutrality does not exist and that her subjectivity would get in her way. She was sure she would only be able to reflect on 'the Israel question' while she was outside the country. It was only when she taught at the University of Tel Aviv, picked up a camera and "found" suitable images that she decided to make a film. Akerman spends a brief period on her own in an apartment by the sea in Tel Aviv. She takes the chamber play to its ultimate form: it is almost entirely chamber. She films from the apartment and in her narration she talks about her family, her Jewish identity and her childhood. She wonders whether normal everyday life is possible in this place and whether filming is a realistic option. Akerman does not film here with any intentions defined in advance. She wants to be as open and blank as possible to ensure that things take their own course.
Sud. Chantal Akerman (2016).
Originally planned as a meditation on the American South, the focus of the film was dramatically altered following the brutal, racially-motivated murder of James Byrd Jr., a black man, in Jasper, Texas that took place during its development. Filmmaker Chantal Akerman situates this hate crime within the context of the surrounding community, environment and landscape, documenting the townspeople's reaction to the hate crime through interviews with residents -- black and white.
Chantal Ackerman, de cá = Chantal Akerman, from here. Chantal Akerman (2016).
A single-shot conversation with Belgian filmmaker Chantal Akerman about her films and her directorial philosophy.
Asante market women. Claudia Milne, Charlotte Boaitey (2012).
Examines the matrilineal and polygamous Asante society of Ghana through interviews with women, who exercise complete authority in the wholesale produce market, and with their husbands and children. The interviewees reveal the advantages and tribulations of their relationships, the practical problems they confront, and the various solutions they embrace.
The couple in the cage a Guatinaui odyssey. Coco Fusco and Paula Heredia (2006).
Performance artists Guillermo Gómez-Peña and Coco Fusco travel and appear before the public in four different countries as two "Guatinaui Indians", members of a fictional "newly discovered" tribe who had agreed to be displayed at malls and museums around the world, after the manner of human exhibition in the 19th and early 20th centuries. These performances are Intercut with archival footage of humans displayed in cages as freaks and curiosities. Conceived as a "satirical comment on the past", the performances evoke various responses, including huge numbers of people who are convinced they are real and do not find the idea of "natives" locked in a cage objectionable.
Daughter of suicide. Dempsey Rice (2010).
Filmmaker Dempsey Rice tells the intimate story of her mother's life and eventual suicide and how she tries to rationalize an irrational act and to find a way to forgive her mother.
Trobriand cricket: An ingenious response to colonialism. Gary Kildea, Jerry Leach (2004).
"Shows how the Trobrianders have taken the very controlled game of British cricket, first introduced to them some 70 years earlier by Methodist missionaries, and changed it into an outlet for mock warfare and intervillage competition, political reputation-building among leaders, eroticized dancing and chanting, and wild entertainment. The game is a major symbolic statement of the Trobrianders' feelings and experiences under British colonialism."--Distributor website.
Sacro GRA. Gianfranco Rosi (2014).
"The ring road around Rome, the Grande Raccordo Anulare is the most extensive urban highway in Italy and the locale for Gianfranco Rosi̕s intriguing concept of a documentary, Sacro GRA. Punning on the Sacro Graal, or Holy Grail, this follow-up to Rosi̕s American-set Below Sea Level takes a neutral look at intriguingly disparate lives near the highway̕s edge, yet neglects to demonstrate why they should all be in one film."--http://variety.com.
The Nuer. Hilary Harris and Robert Gardner (2009).
Presents the most important relationships and events in the lives of the Nuer, Nilotic people in Sudan and on the Ethiopian border. Demonstrates the vital significance of cattle and their central importance in all Nuer thought and behavior.
Sweet sugar rage. Honor Ford-Smith and Harclyde Walcott (2008).
The Sistren Theatre Collective is an independent popular theatre company which has developed since 1977 from the initiative of working-class women in Jamaica. Using drama workshops and original plays the group works at advancing awareness on questions affecting women, particularly Caribbean women. In this film the group concerns itself with women sugar cane workers in and around "New Sugar Town," Clarendon, Jamaica. After interviewing the women in the fields, the group analyses its findings on conditions in the sugar belt and the scenario for a play emerges. Their performances speak directly to the daily experiences of women -- the least empowered workers, who labor long hours for low wages with no benefits or rights to organize for better conditions. Using role-play and interviews with female cane workers, the collective develops dramatizations which analyze social issues and pinpoint their concerns.
Waiting for John. Jessica Sherry (2015).
When the American military landed on Tanna, a remote island in the South Pacific during World War II, the islanders were amazed by America's fantastic cargo - planes, trucks, refrigerators, canned food. They thought such goods could only come from the Gods. Led by the mysterious prophet John, a religion was born, the John Frum Movement, also known as a Cargo Cult. The John Frum Movement still exists in one village in the islands of Vanuatu. The leaders still go to speak with the spirit of John in sacred caves and believers sing songs about him every Friday night. While the US may have forgotten Tanna Island, the American flag flies high over the village of Lamakara and young men march in formation, imitating US soldiers. Lamakara is the last stronghold of the John Frum Movement, but today it is plagued by outside pressures and internal conflict. Waiting for John explores this extraordinary religion from the perspective of the last village of believers, as they struggle to preserve their way of life.
Himalayan herders. John and Naomi Bishop (2007).
An intimate portrait of a temple-village in the Yolmo valley of Central Nepal where Tibetan Buddhists consult shamans, married life begins by kidnapping the bride, and the nearest road is two days walk away. Provides rich material for examining gender, culture change, religion, pastoralism, South Asia, and cultural ecology and economics of mountain populations.
A Tibetan new year. Jon Jerstad (2010).
Documents the Tibetan New Year celebrations (Losar) carried out by the monks of the only Bonpo community outside Tibet, located in the foothills of the Himalayas. Included are the preparations and enactment of the annual ceremony.
A celebration of life: Dances of the African-Guyanese. Kean Gibson (2006).
An analysis of the African cultural roots and the social and spiritual meaning of Guyanese dance.
Trokosi (wife of the gods). Kofi Boateng (2008).
Documents a system of providing young girls as servants/slaves to priests among the Ewe people of southeastern Ghana. These "inmates" (or wives of Gods) must serve for an indefinite time as workers and wives to atone for family crimes that can date back to the 17th century
The raising of America: Early childhood and the future of our nation. Larry Adelman et al. (2015).
"The first documentary series to explore how a strong start for all our kids can lead to a healthier, more prosperous and more equitable America."--Container.
Taking pictures. Les McLaren and Annie Stiven (2007).
Australian documentary filmmakers explore the issues and pitfalls of filming across cultural boundaries through interviews and samples of their films of Papua New Guinea including 'Trobriand Cricket', 'First Contact', 'The Shark Callers of Kontu', 'Joe Leahy's Neighbours', 'Black Harvest', 'Cannibal Tours', 'Man Without Pigs', and others. It also covers the work of indigenous Papua New Guinea filmmakers and their own experience making sense of film and culture.
Ren min gong yuan = People's Park. Libbie Cohn and JP Sniadecki (2012).
A single-shot documentary that immerses viewers in an unbroken journey through a famous urban park in Chengdu, Sichuan Province. The film explores the dozens of moods, rhythms and pockets of performance coexisting in tight proximity within the park's prismatic social space, capturing waltzing couples, mighty sycamores, karaoke singers, and buzzing cicadas. A sensory meditation on cinematic time and space, People's Park offers a gaze at public interaction, leisure and self-expression in China.
Pig tusks and paper money. Lillian Gibbs Production (2015).
There are two currencies in Papua New Guinea. The modern cash economy and traditional economies using shell money, banana leaf bundles and pig tusks. People need both, but there exists no legitimate system of exchange between the two. Henry Tokabak dreams of creating a bank where people can exchange their shell money for cash. He feels that the global economy takes a heavy toll on indigenous people. "Shell money gets exchanged within the community, but paper money just goes away." In the traditional economy, indigenous people live quite well without money. They build their houses, farm their land and barter for any extra items. They need cash only for bus fares, school fees and taxes. However, by standards set by the global economy they are cash poor. Henry's dream is frustrated by the regulation of the banking business. Even the word "bank" cannot be used to describe his operation. Further hindering his crusade is his pending court case for misappropriating public funds to establish an informal bank. Yet Henry has the support of many in his community and beyond. Sarah, a successful storekeeper in the Trobriand Islands, deals with both currencies and agrees there is a need for such an institution. A provocative film for both anthropology and economics classes.
Friends in high places. Lindsey Merrison (2007).
Reveals the central role of nats and spirit mediums in alleviating the day to day burdens of modern Burmese life. Shows the special niche in Burmese society for the gay men who serve as the primary conduits for the spirits. Considered neither male nor female, they are regarded with a curious mix of disdain and reverence.
Kypseli women and men apart: A divided reality. Paul Aratow (2006).
A film essay on the peasant society of Kypseli, a small isolated Greek village on the island of Thera. Depicts how the people of Kypseli divide time, space, material possessions, and activities according to an underlying pattern based on the separation of the sexes, and shows how this division determines the village social structure.
Single stream. Pawel Wojtasik, Toby Lee and Ernst Karel (2014).
"A singular appreciation of waste processing - graceful, mesmeric, almost balletic - Single Stream plunges viewers into the steady flow of a materials recycling facility where hundreds of tons of refuse are sorted each day. Yet another revelatory documentary from Harvard's Sensory Ethnography Lab Single Stream locates, the beauty, efficiency and futurism of an industry built on our culture of excess"--Container.
First peoples. PBS (2015).
200,000 years ago we took our first steps in Africa. Today there are seven billion of us living across the planet. How did our ancestors spread from continent to continent? This is a global detective story, featuring the latest archaeological discoveries and genetic research. On each continent, we track down the earliest members of our species, Homo sapiens. Who were these First Peoples? What drove them to the ends of the earth?
The hand that feeds. Rachel Lears (2016).
At a popular bakery café, residents of New York's Upper East Side get bagels and coffee served with a smile 24 hours a day. But behind the scenes, undocumented immigrant workers face sub-legal wages, dangerous machinery, and abusive managers who will fire them for calling in sick. Mild-mannered sandwich maker Mahoma López has never been interested in politics, but in January 2012, he convinces a small group of his co-workers to fight back. Risking deportation and the loss of their livelihood, the workers team up with a diverse crew of innovative young organizers and take the unusual step of forming their own independent union, launching themselves on a journey that will test the limits of their resolve. In one roller-coaster year, they must overcome a shocking betrayal and a two-month lockout. Lawyers will battle in back rooms, Occupy Wall Street protesters will take over the restaurant, and a picket line will divide the neighborhood. If they can win a contract, it will set a historic precedent for low-wage workers across the country. But whatever happens, Mahoma and his coworkers will never be exploited again.
Solo questo mare = Only the sea is missing. Rossella Schillaci (2014).
Looks at the lives of Somali refugees who live in an abandoned and unheated clinic in Lampedusa, Italy.
Il limite. Rossella Schillaci (2014).
The film depicts the daily struggle of fishermen to earn a living in a harsh physical environment that brings out the social and economic tensions of modern society. Manning the Priamo are Cola, the captain, Ahmed, the Tunisian first mate, two Italian engineers, and two Tunisian seamen. At sea for three weeks at a time, they fish off the coasts of Libya and Tunisia, sometimes outside the fishing limits and risking interception by the authorities. An intimate account of remoteness: after a few days on shore, the men leave their homes and families for a month. Night and day the nets are cast every four hours. The work is demanding and poorly paid. The quarters are cramped and uncomfortable. Conflicts and prejudices surface amidst the roar of the engines and the sea. Beyond the horizon lies Africa, where immigrants embark for Europe, leaving their homes and families behind in the hope of finding a better life.
Food chains. Sanjay Rawal (2014).
Coalition of Immokalee Workers or CIW, a group of Florida farmworkers, battle to defeat the $4 trillion global supermarket industry through their ingenious Fair Food program, which partners with growers and retailers to improve working conditions for farm laborers in the United States.
Witchcraft among the Azande. Singer, André Ryle John (2013).
There was a time when the Azande kings ruled from the tropical rain forests of the Congo to the pastures of southern Sudan. In 1980s Sudan, they live a life of obscurity, dominated by oracles and spells-though practicing Christians, they still believe in the power of magic. To an Azande, nothing happens by chance. A wife's illness, the failure of the hunt, or a spoiled crop are all believed to be the work of witches-a witch may not even be conscious of his or her powers, like the woman accused of causing her co-wife sickness merely through unfriendly thoughts. A couple stands accused of adultery both deny the charge and agree to the chief's suggestion they be tried by Benge, a ritual poison fed to a chicken-whether the chicken lives or dies determines their guilt. When the Benge trial shows that adultery was committed, the pair confesses.
Life story of an African inyanga. Sith Yela (2006).
Interview and dramatization of the life of Samuel B. Jamile, a South African inyanga (herbalist/medicine man). Examines the inyanga's medical, psychological, social, and moral role in tribal life. Also discusses the inyanga's role in modern society.
Savage memory. Sly Productions (2012).
In 1915, Bronislaw Malinowski set out to document the 'exotic' practices of a small group of islanders off the coast of Papua New Guinea. With extensive data on sex, magic and spirits of the dead, his work set the stage for anthropologists for decades to come and brought him fame as one of the founding fathers of anthropology. Four generations and almost one hundred years later, his great grandson travels to the Trobriand Islands in Papua New Guinea and looks at the very controversial legacy Malinowski left behind - within the field of anthropology, within his own family and among the descendants of the people he studied. The film follows a layered landscape of narrative threads: the story of Malinowski's last surviving daughter and her ambivalence towards her father's painful legacy the Trobriand Islanders surprising personal relationship to Malinwoski as they witness the impact of westernization on their changing customs and the story of Malinowski himself- the triumphant, self-made mythical anthropologist.
The empathy gap: Masculinity and the courage to change. Thomas Keith (2015).
Filmmaker Thomas Keith examines how the sexist and misogynistic messages that circulate in American culture short-circuit men's ability to empathize with women, respect them as equals, and take feminism seriously. Along the way, The Empathy Gap draws fascinating parallels between sexism and racism, and shows how men who break with regressive gender norms live happier and healthier lives.
Pratica e maestria. Various (including Rossella Schillaci) (2015).
Pratica e maestria: a documentary about the construction, performance techniques, and performers of the zampogna, a bagpipe-like wind instrument. Features two brothers Antonio and Forastiero, who live and work in the remote mountains of southern Italy in Calabria.
Feng ai = 'Til madness do us part. Wang Bing (2016).
In an isolated psychiatric institution in Yunnan Province, China, live fifty men who spend their days locked on one floor, with little contact with the outside world, even with the medical team, who only arrive to administer drugs. Each has been committed for a different reason: they have mental problems, killed people, or have upset local officials. But once inside, they share the same empty life, walking along the same iron wire-fenced courtyard, looking for comfort and human warmth.
In her own time. Barbara Meyerhoff (2007).
Focuses on cultural anthropologist Barbara Myerhoff's study of the community of Hasidic Jews in Los Angeles's Fairfax neighborhood. Tells also how, after exhausting medical treatment for cancer, she found strength among the traditions, faith, and caring of these Orthodox Jews.
Bronislaw Malinowski: Off the Verandah. Bronislaw Malinowski (2004).
Examines the work of Bronislaw Malinowski, who studied the people of the Trobriands, a group of Pacific Islands, altering the idea that native peoples were primitive savages.
Franz Boas: The Shackles of Tradition. Bruce Dakowski (2013).
Profile of the German physicist who was responsible for shaping the course of American anthropology, beginning with his investigations of the relations between Eskimo migrations and the physical geography of their region.
Coming of age. Bruce Dakowski (2004).
Chronicles the life and career of Margaret Mead, one of the most controversial anthropologists and fieldworkers of her day. Includes original footage from American Samoa, New Guinea and Bali.
Sir Edward Evans-Pritchard: Strange Beliefs. Bruce Dakowski (1990).
Sir Edward Evans-Pritchard was the first trained anthropologist to do work in Africa, where he lived among the Azande and studied their belief in witchcraft.
Sir Walter Baldwin Spencer: Fieldwork. Bruce Dakowski (2004).
Explores the career of Walter Baldwin Spencer, whose studies of the Australian aborigines showed them to be a people with an extremely complex and subtle, rather than primitive, culture.
William Rivers: Everything Is Relatives. Bruce Dakowski (2004).
Reviews the life and work of social anthropologist William Rivers. Describes his work among the people of the Torres Straits and the Todas of southern India and how he was led to stress the importance of kinship ties into understanding culture. His efforts to provide anthropology with a sound scientific base are evaluated in detail.
Unity through culture. Christian Suhr (2011).
"Soanin Kilangit is determined to unite the people and attract international tourism through the revival of culture on Baluan Island in the South Pacific. He organizes the largest cultural festival ever held on the island. But some traditional leaders argue that Baluan never had culture. Culture comes from the white man and is now destroying their old tradition. Others, however, take the festival as a welcome opportunity to revolt against '70 years of cultural oppression' by Christianity. A struggle to define the past, present and future of Baluan culture erupts to the sound of thundering log drum rhythms."-- Container.
Familiar places. David MacDougall (2000).
Follows the efforts of a group of Australian Aborigines and the anthropologist Peter Sutton as they map the traditional lands of an Aboriginal family that wishes to return to its homeland in northern Queensland, Australia. Explains the politics of this Aboriginal movement of re-homestead old territorial lands (called "outstations"), and illustrates many of the problems faced by the returning natives.
Good-bye old man, or, The film of Tukuliyangenila a film about Mangatopi: A Tiwi bereavement ceremony. David MacDougall (2000).
Presents the elaborate "pukumani" or bereavement ceremony held to close the mourning period after the death of a senior Tiwi man on Melville Island.
Link-up diary. David MacDougall (2013).
"A film about the effects of the New South Wales government's long-term practice of forced removal of Aboriginal children. It takes the form of a personal journey by film-maker David MacDougall as he spends a week 'on the road' with three workers of Link-up, an Aboriginal organisation devoted to reuniting Aboriginal families whose children were taken away." --leaflet.
Takeover. David MacDougall (2012).
Presents an insider's view of events that followed an announcement made without warning on March 13, 1978, that the Queensland state government was taking over control of the Aboriginal community of Aurukun in the north of the State, displacing the Uniting Church which had managed the Aboriginal Reserve for 70 years. At the request of the community, filmmakers David and Judith MacDougall documented the events of the following weeks, as the community marshalled its supporters to resist the takeover, and a stream of lawyers, politicians, Church officials, government advisers and representatives of mainstream media arrived to talk with the Aboriginal Council and the community at large. Ostensibly driven by a desire to access the mineral wealth in the Aurukun area, the state government was resistant to modifying its position, but intervention from the Federal government forced a sequence of compromises, though not always with the community's knowledge or to their satisfaction. One of the major works produced by the AIAS Film Unit, this documentary observes the profound effect on an Aboriginal community of political and bureaucratic decisions made far away. Although specific to time and place, the film is timeless and universal in its observations of a conflict between an Indigenous minority and a powerful government.
My name is salt = Salz ist mein Name = Mon nom est sel. Farida Pacha (2015).
Year after year, for eight months, thousands of families in Kutch, Gujarat, India are attracted to the desert to bring salt from the burning ground. Each monsoon the salt fields are washed away, and the desert turns into the sea. Nevertheless, the salt workers return, proudly to produce the whitest salt of the earth.
I'm British but. Gurinder Chadha (2000).
Using Bhangra and Bangla music and the testimonies of young British Asians, the video uncovers a defiant popular culture--a synthesis--part Asian, part British.
The meaning of life. Hugh Brody (2008).
Looks at a new model for rehabilitating prisoners--a collaboration between the Correctional Service of Canada and the Chehalis Nation of British Columbia--and explores a different way of looking at punishment and rehabilitation. This documentary was filmed at Kwikwexwelhp (formerly known as the Elbow Lake Correctional Facility) in Harrison Mills, B.C. It shows that a prison system can be changed by including community in the process. Seventy per cent of the men at Kwìkwèxwelhp are from First Nations backgrounds. The remainder have agreed to accept Aboriginal spirituality and community as central elements in a rehabilitation program. Most of them are serving life sentences: the men followed in the film have committed murders, armed robberies and grievous sexual crimes. All of the inmates are struggling to find meaning in lives that have gone agonizingly wrong. Through interviews with inmates and elders, observing daily routines and activities at the prison, and following three men who have been recently released on parole, the film examines the question of what incarceration means within our society and the hope that a new approach may bring.
Time immemorial. Hugh Brody (2011).
The Nisga'a tribe of northwestern British Columbia has long led the fight for aboriginal rights in Canada. This film chronicles their struggle as they take their case for land rights all the way to the Supreme Court of Canada.
"A unique record of the Khomani San of the Kalahari, Tracks across sand brings together the story of Africa's first Bushman claim, from preparation through the twelve years after the claim was granted. Seen through the eyes and told in the words of the Khomani San, Tracks brings us into the heart of the new South Africa, a chronicle of the struggle for indigenous rights by a people who are defying a history that has attempted and failed to make them disappear."--Packaging.
The Yirrkala Film Project. Ian Dunlop (2007).
"Yirrkala was an isolated mission station until the coming of a huge bauxite mine in the late 1960s. The impact of the mine on the Yolngu, the Aboriginal people of northeast Arnhem Land, and their response is a major theme of this long-term film project. Twenty two films document many aspects of Yolngu life. Each stands on its own but each is also part of a rich mosaic. The relationship between people and their clans, ritual, art and land is an intertwining theme. Several major ceremonies are documented."--Container.
Aatsinki: The story of Arctic cowboys. Jessica Oreck (2014).
Brothers Aarne and Lasse Aatsinki are cowboys of the Arctic. Quiet but good natured, dare-devilish but humble, rugged but gentle, and exceptionally knowledgeable when it comes to their little slice of wilderness. The brothers, along with their wives and children, live well north of the Arctic Circle in Finnish Lapland, where they are the leaders of a collective of traditional reindeer herders who manage the last group of wild reindeer in all of Finland. Aatsinki follows the family for the span of one year, quietly observing their seasonal routines and the difficulties and joys of a life so closely tied to the land. Though, on the surface, Aatsinki is the story of a single family, its underlying narrative is one of global consequences and connections. Between their uncanny understanding of the landscape and their reindeer on the one hand, and their heavy reliance on snowmobiles and helicopters on the other, the herders have been categorized as beacons of sustainability and demons of environmentalism-- in essence, poster children for simplicity and technology alike.
Beetle queen conquers Tokyo. Jessica Oreck (2010).
This documentary explores Japan's fascination and love affair with insects. The film intertwines their love for something so mundane, be it a beetle or butterfly, with their cultural values and traditions. In the end, it challenges viewers to not only alter their view of insects but also our lives.
Diya. Judith MacDougall (2001).
This ethnographic documentary provides a new way of exploring the complex social life surrounding material objects. A diya is a small terracotta oil lamp used throughout India in religious ceremonies. A family of potters is filmed as they make diyas in the increasingly frantic days before Diwali, the "Festival of Lights." The lamps are produced on a potter's wheel, then sold in the bazaar, to be used as part of the Diwali puja ceremonies, after which they are discarded and returned to the earth.
The house-opening. Judith MacDougall (2011).
The house opening ceremony is a ritual purification following the death of an inhabitant. This film follows Geraldine Kawengka, widow of a recently deceased man, as the ceremony is prepared and carried out on the Aboriginal settlement of Aurukun.
Experimental ethnographies: Four short films. Kathryn Ramey (2013).
Endless present: An unconventional and multi-layered approach to autobiography, incorporating hand-processed abstractions, ethnography, and the works of anthropologist Ray Birdwistall and artist On Kawara.
Fall: From the tale of Icarus to Plato's cave analogy and through the fragile materiality of hand processed 35mm film, Fall relates the pain of knowledge acquisition as a girl becomes a woman and one turns into two.
The passenger: With whispered voice-over, text on screen, singing and anthropologists Jacques Van Flack and Ray Birdwhistell intoning analysis, the passenger is a hand-processed multi-vocal film meditation on madness, motherhood, psychoanalysis and the possibility of escaping one's fate. The passenger is a personal, experimental, 16mm film that addresses my tenuous relationship with my mentally ill mother and my reservations about pregnancy, birth, and parenthood.
West: An experimental documentary about Elizabeth Crandall Perry: adventurer, midwife and distant ancestor to the filmmaker. Ramey and her then 5-yr old son, explore the path Perry took across the American West and film side-by-side through monuments to American expansionism until they arrive at the family farm in Oregon. Juxtaposing found footage, historical narrative and contemporary looks at the Willamette Valley, the film is a meditation on how to understand a past fraught with contradictory points of view and the role of the artist in the making of meaning.
Tales of the waria. Kathy Huang (2011).
This film follows a community of transgender women in Indonesia, the world's largest Muslim country, as they search for romance and intimacy. Uncover a world that not only defies our expectations of gender and Islam, but also reveals our endless capacity as human beings to search for love -- whatever the consequences.
How a people live. Lisa Jackson (2012).
Documentary on the Gwa'sala-'Nakwaxda'xw Nation, which the Canadian government forcibly relocated from its traditional territories on the coast of British Columbia in 1964.
Marina Abramović the artist is present. Matthew Akers (2012).
Seductive, fearless, and outrageous, Serbian performance artist Marina Abramovic has been redefining art for nearly forty years. Using her body as a vehicle, she creates performances that challenge, shock, and move us. This is a mesmerizing journey into the world of radical performance and an intimate portrait of an astonishingly magnetic, endlessly intriguing woman who draws no distinction between life and art.
A Balinese family the Karmas of Bajoeng Gedé. Mead/Bateson (2006).
A study of a Balinese family showing the way in which father and mother treat the three younger children-- the lap baby, the knee baby, and the child nurse.
First days in the life of a New Guinea baby. Mead/Bateson (2000).
Shows the treatment of a newborn baby among the Iatmul, a headhunting tribe of New Guinea. Studies the baby from several minutes after birth to the fifth day of life, as it is nursed, bathed, and cared for by its parents.
Karba's first years a study of Balinese childhood. Mead/Bateson (2006).
A series of scenes in the life of a Balinese child, beginning with a seventh-month birthday ceremonial, showing the child's relationships to parents, aunts and uncles, child nurse, and other children, as he is suckled, taught to walk and to dance, teased, and titiliated. Demonstrates the process by which a Balinese child's responsiveness is muted as parents stimulate and themselves fail to respond.
Learning to dance in Bali. Mead/Bateson (2005).
Shows how Balinese dancers learn their art, first by being physically guided by the instructor and then imitating the instructor's movements. The film also introduces I Mario, a famous Balinese dancer, who exchanges dance lessons with a visiting dancer from India to the accompaniment of a gamelan orchestra.
Hopi songs of the fourth world. Pat Ferrero (2008).
"Hopi : songs of the fourth world is a compelling study of the Hopi that captures their deep spirituality and reveals their integration of art and daily life. Amidst beautiful images of Hopi land and life, a variety of Hopi--a farmer, a religious elder, grandmother, painter, potter and weaver--speak about the preservation of the Hopi way. Their philosophy of living in balance and harmony with nature is a model to the Western world of an environmental ethic in action"--Container.
Four films by Robert Ascher. Robert Ascher (2014).
Cycle: an animated film based on a non-sacred myth of the Wulamba, a native people of northeastern Australia. The sound track of Cycle is in Wulamba. The narrator assumes familiarity with the myths of his people. He does not tell a myth rather he indirectly recalls central figures in Wulamba mythology by utilizing poetic devices, particularly the repetition of key words: lotus, evening star, moon, and the name of a clay-pan where past and future events are played out in the present. The images complement but do not illustrate the narration. On the clay-pan, people collect lotus, the roots of which become an evening star. It is here, too, on the pan, that a being, rejecting mortality, changes himself to moon. The horn of light visible at the close of moon's period drops into the sea where it becomes a nautilus shell. The process is a never ending cycle relating people, the spiritual world, and the natural environment.
Bar Yohai: Shimon Bar Yohai was a second century visionary who, according to popular belief, wrote the Zohar, the main Kabbalah text of the Jewish mystical tradition. The film's images-- tree, mirror, candelabra and the ten dots with which each is constructed-- are Kaballah figures for how the world got started and keeps going. Once every year there is a celebration honoring Bar Yohai at his tomb in Meron, Israel. The last scene is composed from photographs taken on the roof of the tomb during the celebration. The soundtrack, a song praising Bar Yohai, was also recorded during the celebration in a town (Safed) a few miles from the tomb.
Blue, a Tlingit odyssey: In just about every known culture, there is a myth in which a hero ventures forth, discovers something of great value, and then returns home with his gift. The details may vary from culture to culture, but everywhere the broad outline is maintained. Blue is a visual rendering of the Tlingit hero myth. The Tlingit are Native Americans who live in southeast Alaska. In their version of the myth, the heroes are four brothers who go in search of blue. The film starts with a necessary preface. The world is dark. Raven, the trickster, releases the sun from its box, the world is illuminated, and the odyssey begins. In part one, The Search, the brothers set out on a sea journey encountering marvelous creatures along the way. Action in the second part, entitled The Find, takes place mostly within a cave where the brothers find blue. The brothers find and take something so valuable that they are pursued and a storm develops. One of the brothers dies in the storm the others, with their gift of blue, complete the trip home.
The Golem: Take some soil, knead it with water, and, together with a companion, chant certain combinations of the Hebrew alphabet. This formula, written down in the 3rd or 4th century, is essential for the creation of a golem, an artificial person. For ten centuries golems thus created lived in the imaginations of their creators. After that they became corporeal presences that anyone could see. Still later golems could pose real dangers and had to be destroyed by their creators. The notion of the golem is persistent and still evolving. Today golems may be found in science, technology and art. They are often associated with robots, computers, and new organisms created through biotechnology. In several 20th century paintings, short stories, plays and novels, golems are central figures. There is a golem opera, a golem poem, a golem ballet and a golem orchestral suite. And in more than a half dozen live action movies, a golem is the main character. The Golem, an animated film, was created by drawing directly on clear film stock one frame at a time. There are over 6,000 individual drawings. The film's soundtrack is derived from the earliest manual for golem making the brevity of the film allows concentration on the essentials of the story. Although every film is, in some sense, an interpretation, The Golem leaves ample room for viewers to find their own meaning.
La mémoire dure Memory resists. Rosella Ragazzi (2005).
Filmed over the course of nine months at a primary school in Paris, the film profiles five immigrant children as they undertake their first years of formal education in France. The children are currently in a total language immersion class designed to prepare them for entering normal primary school classes as soon as possible. Issues of immigration, cultural assimilation, social integration and educational process are analyzed within the context of this film.
As long as there's breath. Stephanie Spray (2014).
"Stephanie Spray's third film documenting the lives of the Gayeks family in Nepal. Building on a deep bond of trust and filming their most private moments, Spray captures a family struggling for cohesion after a beloved son leaves to find work in India. Taking its title from a common Nepali aphorism, 'As long as there's breath, there's hope,' the film patiently observes the Gayeks daily rituals as they prepare for a long day's work in the fields, share meals together, harvest crops, and rest. In one remarkable scene, three generations of women from this family gather in the shade to candidly discuss issues of sexuality and marital life. Using magnificent long takes and employing an intimacy that few filmmakers can achieve (Spray was eventually adopted by the Gayeks family), As long as there's breath connects the psychological effects of a loved one's absence to the most mundane yet essential acts of work, laying bare the family's innermost fears and hopes"--Container.
The Kayapo. Terence Turner (2008).
There are more than 2000 Kayapo Indians living in the Amazonian jungle in Brazil. Gold was found in the area and their land was invaded by miners. However, they manage to protect their mine and profits, and preserve their traditional way of life with these profits.
Malaria fever wars. (2005).
Highlights man's interminable fight against malaria -- an infectious disease carried by mosquitos -- that causes millions of deaths annually. This film weaves the stories of a few heroic individuals -- Chief Peter Kombo, Prof. Jeffrey Sachs, and Prof. Adrian Hill -- each fighting a unique battle to bring the malaria crisis to global attention. In the remote Kenyan village of Kiagware, Chief Peter Kombo struggles with getting help and medical attention from local authorities to treat the dangerously sick villagers -- who are often children. Meanwhile, on the world stage, Prof. Jeffrey Sachs encourages wealthy countries to contribute the desperately needed funds and supplies and Prof. Adrian Hill has spent a decade researching the elusive vaccine. When an unexpected outbreak occurs in Palm Beach County, Florida, the health and safety of thousands of Americans are at risk. Will this crisis provide the necessary pressure for governments to finally investigate malaria prevention and treatment?
Fires in the mirror Crown Heights, Brooklyn, and other identities. Anna Deveare Smith (2009).
On Aug. 19, 1991, in Crown Heights (Brooklyn, N.Y.), a Hasidic man accidentally ran over a 7-year-old Black boy (Gavin Cato). Three hours later a young Jewish scholar (Yankel Rosenbaum) was murdered by Black youths. Four days of fire-bombing and riots ensued. Utilizing verbatim excerpts from interviews she conducted, Anna Deavere Smith acts out the roles of 18 people involved in the racial conflict, trying to present the differing viewpoints. Includes actual film footage of the riots and violence.
Duvarlar Mauern = Walls. Can Candan (2000).
Immigrants to Germany from Turkey talk about their past, present, and possible future, reflecting on what the opening of the Wall and unification of the two Germanys meant for them and how increasing hostilities are affecting their sense of belonging in the new Germany.
Le Cousin Jules Cousin Jules. Dominique Benicheti (2012).
A lost masterpiece of cinema, now restored and available for the first time in years. An ode to rural France and the simple joys of life, Dominique Benicheti captures the daily routine and rituals of his cousin Jules, a blacksmith, living with his wife, Felice, on a small farm in the French countryside.
Blink. Elizabeth Thompson (2012).
Once a fanatical rising star in the white supremacist movement, Greg Winthrow grapples with a legacy of hatred handed down across generations in this haunting documentary. The film reveals how class divisions are masked by racial conflict and follows the intense, angry and breathtakingly resourceful Winthrow as he grapples with his own redemption from a heritage of violence.
Brincando el charco portrait of a Puerto Rican. Frances Negrón-Muntaner (2008).
Brincando el charco contemplates the notion of "identity" through the experiences of a Puerto Rican woman living in New York. In a mix of fiction, archival footage, processed interviews and soap opera drama, this film tells the story of Claudia Marin, a middle-class, light-skinned Puerto Rican, lesbian, photographer/videographer who is attempting to construct a sense of community in the U.S.
La danse des Wodaabe. Frederick Wiseman (2015).
La danse des Wodaabe, and, Wodaabe : dance instead of war: Thousands of Wodaabe Fulani nomads meet annually in the heart of the Nigerian Sahel for geerewol, a ceremonial gathering where two lineages confront each other through song and dance. La danse de Jupiter: The leader of the Congolese musical group, Jupiter Bokondji, takes the viewer on a tour of the slums of Kinshasa. He shows a city where vocal expressions are varied and colorful, from rumba to rap, and the music is often played on improvised instruments.
Titicut follies. Frederick Wiseman (2007).
Filmed at the Massachusetts Correctional Institution at Bridgewater, this documentary shows harsh scenes of the life and treatment of the criminally insane inmates. Shows scenes of the daily life of the men, interspersed with shots from the inmates' talent show.
Sleep furiously. Gideon Koppel (2011).
Set in a small farming community in mid-Wales, a place where the director's parents-both refugees-found a home. This is a landscape and population that is changing rapidly as small scale agriculture is disappearing and the generation who inhabited a pre-mechanized world is dying out. Much influenced by his conversations with the writer Peter Handke, the filmmaker leads us on a poetic and profound journey into a world of endings and beginnings a world of stuffed owls, sheep, and fire.
In the shadow of the sun. Harry Freeland (2013).
A story about human rights, deep-rooted superstition, and incredible strength, In The Shadow of the Sun explores the troubling increase of violence and brutal murders in Tanzania targeting people with albinism. For hundreds of years people with albinism have been killed at birth and rejected by their communities. A lack of melanin means that people with albinism are left with little or no pigment in the skin, hair and eyes. This leads to epidemic rates of skin cancer and an average life expectancy of just 35 years in Africa. In rural Tanzania, it is a belief that people with albinism are not African, leaving those suffering from the condition with little sense of racial identity in their white skin. Witch doctors have been known to spread a belief that the body parts of albino people will bring wealth and good fortune. Referred to as "White Ghosts" and "Devils" within their communities, the superstition surrounding them has grown so strong that people with albinism now fear for their lives. Filmed over six years, In The Shadow Of The Sun tells the incredible story of two albino men as they attempt to follow their dreams in the face of prejudice and fear: Vedastus, a quietly determined 15-year-old, who still hopes of completing his education, and Josephat Torner, a young man who has dedicated his life to campaigning against the discrimination of his people. In these two impassioned individuals, we recognize our most basic human needs: to belong to a community of others, to forge our own sense of personal identity, and the unimaginable lengths to which we must go to preserve our dignity.
Escape fire the fight to rescue American healthcare. Heineman and Froemke (2013).
Examines the U.S. healthcare crisis, citing demands for higher profits by the health care industry as the cause. Individuals tell of their experiences with the healthcare system. Health care professionals and other experts offer their opinions on the situation.
Bowl of bone: Tale of the syuwe. Jan-Marie Martell (2010).
A syuwe is a Salish healer, astral traveller, herbalist, medicine woman and visionary whose power is the accumulation of secret knowledge that has appeared as a gift through dreams and is passed down within a family. This film examines the relationship between the syuwe Annie York and the filmmaker and the transformative process of the quest for self-knowledge in their friendship.
Let the fire burn. Jason Osder (2014).
Comprised of found footage and sound bites, Let the fire burn describes the conflict between the Black Power group MOVE and the people and city government of Philadelphia, culminating in the armed standoff of May 13, 1985, in which one police officer and eleven MOVE members were killed, ending when Philadelphia police dropped a bomb on the row house that served as MOVE headquarters.
Ishi, the last Yahi. Jed Riffe, Pamela Roberts (2002).
Presents a narrated version of the discovery of Ishi, last member of the Yahi Indian tribe, and events in his life after coming into the white man's world.
Balkan rhapsodies 78 measures of war. Jeff Daniel Silva (2008).
Balkan Rhapsodies is an episodic documentary poem that interweaves a mosaic of encounters, observations, and reflections from Silva's travels throughout war-torn Serbia and Kosovo between 1999-2005. An American filmmaker and ethnographer, Jeff Daniel Silva, was the first US civilian allowed entry into a devastated Serbia in 1999 just days after the NATO bombings. Balkan Rhapsodies is an episodic documentary poem that interweaves a mosaic of encounters, observations, and reflections from Silva's travels throughout war-torn Serbia and Kosovo between 1999-2005. An American filmmaker and ethnographer, Jeff Daniel Silva, was the first US civilian allowed entry into a devastated Serbia in 1999 just days after the NATO bombings. By immersing himself intimately into the lives of people he meets, the film grapples with the inexplicable contradictions he encounters while digging deeper in search for comprehension.
Nong jia le Peasant family happiness. Jenny Chio (2013).
This ethnographic film depicts the everyday experience of "doing tourism" in two rural, ethnic tourism destinations in contemporary China: Ping'an and Upper Jidao villages. Focusing on the perspectives of village residents, this film portrays how modern, rural Chinese negotiate between the day-to-day consequences of tourist arrivals in their home villages and ideal projections of who they are and what their lives can achieve through tourism development.
Johan van der Keuken. Volume 1 the complete collection. Johan Van der Keuken (2006).
I [love] money: New York, Geneva, Hong Kong and Amsterdam are major hubs of the world's economy. Great amounts of money circulate there, and whereas poverty is ubiquitous in the streets of New York, Geneva carefully protects its wealth behind impeccable facades. No one is unaffected by the myth of the all-powerful Dollar: the under-privileged struggle to survive talking about their unattainable dream, while businessmen, from the safe distance of their offices, lay down the tenets of the financial philosophy. Beauty: The dream world of a fascist spy named Beauty who destroys himself by attempting to impose a rigid working order on the world. The recurring themes of van der Keuken's work --- time, violence, the perception of reality -- are explored here with exceptional intensity. A moment's silence: One of John van der Keuken's first independent projects produced on an extremely modest budget. The coming and going of street traffic in Amsterdam slows and finally the city is immobilized. In the silence, short live sequences introduce simple poetic observations of a peaceful urban landscape. Eye above the well: Explores India's spiritual and economic condition, moving from the city to the countryside in the region of Kerala, as it focuses on the essence of that civilization. Captured without commentary by a gliding camera are a cacophony of distinctly nonwestern sights and sounds: the bustling city streets, the serene landscapes of the surrounding countryside, a family preparing for dinner, an elderly actor performing his mythological drama, a modest country moneylender traveling from village to village, young girls at their singing lessons. Lucebert, time and farewell: One of the greatest Dutch poets of the twentieth century, Lucebert was also a major painter who participated in the Cobra movement. This is van der Keuken's acclaimed triptych of three short films on Lucerbert produced in 1962, 1966, and 1994. Unanswered question: A didactic verse on the mechanic (or rather, organic) function of memory and therefore, also on cinema. On animal locomotion: An illustration of the human body in motion with music from the Dutch composer Willem Breuker. Face value: Rejecting linear narrative storytelling, the director offers an epic of humanity and cultural diversity through a cartography of faces, the reflection of an imaginary Europe, made up of London, Marseilles, Prague, and the Netherlands. Mask: During the celebrations of the bicentennial of the French Revolution, Johan van der Keuken made a film about the revolutionary ideas of equality, liberty, and fraternity. Rather than focusing on the festivities, he lingers on the crowds in the metro and on the platform. Among them is a homeless member of the poor class who is ignored by his more affluent countrymen. A cutting perspective on the contradictions that permeate French society.
Johan van der Keuken. Volume 2 the complete collection. Johan Van der Keuken (2007).
Van der Keuken explores his hometown Amsterdam and its inhabitants, looks at brass bands in Nepal, Indonesia, Ghana, and Suriname and how they reflect their colonial past and present culture, documents the 1993 film festival held in Sarajevo amidst winter and war, meditates on the repetitve movements found in everyday life, explores an artist's photo studio and filmmaking in general. Thierry Nouel documents Van der Keuken and his films.
Johan van der Keuken. Volume 3 the complete collection. Johan Van der Keuken (2008).
Features work from van der Keuken's career, including The White Castle, Vietnam Opera, The Spirit of the Time and more, revealing the filmmakers curiosity about life. White castle: A study, in parallel montage, of working-class communities in Formentera, Spain, and Columbus, Ohio.
Johan van der Keuken. Volume 4 the complete collection. Johan Van der Keuken (2007).
This boxed set spotlights work from this legendary filmmaker s mid-career, including The Flat Jungle, a feature-length documentary about the Wadden Sea wetlands, Southbound, a complex chronicle of a trip from Amsterdam to Egypt, and The Palestinians, a documentary shot in Lebanon in 1975 just before the civil war.
Johan van der Keuken. Volume 5 the complete collection. Johan Van der Keuken (2007).
In this final volume in the collection, the focus is on death and dying as van der Keuken continues to make films after learning that he is terminally ill. The long holiday: ""The long holiday follows the director and his wife as they travel around the globe from Bhoutan in Africa to Rio to San Francisco, spending their last years together taking in the sights and sounds of the world.""--Container. For the time being: ""On a sunny day in January 2001, Johan died. What he left us in the screening room was a nine-minute segment--begun in November 2000 with Menno Borema--the first part of the film that he would never finish. These nine minutes make up a dynamic sequence in which Johan presents little portraits of the people he met during his travels.""--Container. Last words : my sister Yoka: ""Van der Keuken wrote about this film: 'My sister Yoka, who was two-and-a-half years older that I am, died of cancer on August 8, 1997. Eight days before Yoka's death, my wife, Noshka, and I had a long conversation with her that I filmed with a video camera. Two days before Yoka died, I filmed a second conversation, a short one this time. I had asked her, albeit somewhat reluctantly, for her permission to film. She viewed these last filmed conversations as a very important ""project.""'""--Container. Last words: ""The stepson of van der Keuken followed the example of the older man with Last words : my sister Yoka and filmed his father during his last days.""--Container.
The Black Fatherhood Project. Jordan Thierry (2013).
"The Black Fatherhood Project offers context and conversation in this honest exploration of fatherhood in Black America. Through a telling of his own story and interviews with historians, filmmaker Jordan Thierry traces the roots of the fatherless Black home and reveals a history much complex and profound than is often told. Putting that history into perspective is a dialogue among fathers discussing their experiences, inspirations, and insight on how communities can come together to ensure the power of a father's love is not lost on America's Black children"--Container.
Lola + Bilidikid. Kutlug Ataman (2000).
Set in the underworld of contemporary Berlin, the video offers a rare glimpse into a Turkish immigrant sub-culture in which sixteen-year-old Murat is a voyeur to macho hustlers and gay sex, torn between the pressures of his Muslim family and his need to experience this taboo arena.
Bontoc eulogy. Marlon Fuentes (2007).
A personal and poignant docudrama that examines the Filipino experience at the 1904 St. Louis World's fair. The film focuses on the filmmaker's grandfather, an Igorot warrior, one of the 1,100 tribal natives displayed as anthropological 'specimens' in the Philippine village exhibit. A unique fusion of rare archival images, verité, and carefully orchestrated visual sequences shot in the present, the film is an innovative investigation of history, memory and the spectacle of the "other" in the turn-of-the-century America.
I used to be darker. Matthew Porterfield (2013).
When Taryn, a Northern Irish runaway, finds herself in trouble in Ocean City, she seeks refuge with her aunt and uncle in Baltimore. But Kim and Bill have problems of their own: they're trying to handle the end of their marriage gracefully for the sake of their daughter Abby. A story of family revelations, people finding each other and letting each other go, looking for love where they've found it before, and when that doesn't work, figuring out where they might find it next.
Putty Hill Hamilton. Matthew Porterfield (2011).
Putty Hill: A beautifully realized portrait of a close-knit community on the outskirts of Baltimore. At a neighborhood karaoke bar, friends and family gather to remember a young man who passed away. Knowing little about his final days, they attempt to reconstruct his life. In the process, they offer a window onto their own lives, an evocative picture of working-class America, dislocated from the progress and mobility around them, but united in pursuit of a shared dream. Hamilton: Chronicles two summer days in the life of two young parents living in a Baltimore suburb.
Incident at Oglala the Leonard Peltier story. Michael Apted (2004).
Examines the 1975 incident where armed FBI agents illegally entered the Pine Ridge Indian Reservation, resulting in the deaths of a Native American and two FBI agents. Explores the controversy and potential abuse of justice surrounding the case of Leonard Peltier, who was the sole person in the incident convicted of murder and sentenced to life in prison.
Eskimos of Pond Inlet. Michael Grigsby, Hugh Brody (2012).
The Inuits of Pond Inlet, a new village in North Baffin Island built by the Canadian government, are laborers, and their children attend government school. The Inuits, formerly known as Eskimos, talk about their lifestyle before and since the arrival of the white man, their land rights and their relationship with the whites and the changes forced upon them by the encroaching culture of white society.
Le quattro volte. Michelangelo Frammartino (2011).
With little dialogue, this film is a meditation on the mysterious cycles of life. Set in Italy's mountainous region of Calabria, it traces the path of one goatherder's soul as it passes from human to animal to vegetable to mineral. Director Michelangelo Frammartino was inspired by Pythagoras' belief in 'four-fold transmigration' of souls, but his film is far more physical than philosophical. An ineffably beautiful meditation on the mysterious cycles of life. Set in Italy's mountainous region of Calabria, it traces the path of one goat-herder's soul, as it passes from human to animal to vegetable to mineral. Director Michelangelo Frammartino was inspired by Pythagoras' belief in 'four-fold transmigration' of souls, but his film is far more physical than philosophical.
Katinoula. Myrna Tsapa (2012).
Katinoula is elderly but still serves as a housekeeper for another Greek lady living in Cairo, Egypt. Her family and friends have all preceded her in death, but she still lives a productive and happy life. The film follows her through her daily routine, starting with making Turkish coffee in the morning.
The perfect runner. Niobe Thompson (2012).
How did our ancestors survive the shift from trees to land? How did Homo sapiens evolve to dominate the planet? How did our ancestors hunt before they developed weapons? The answer, you'll be amazed to learn, is that humans became nature's perfect endurance runners. From Africa's Great Rift Valley to the highlands of Ethiopia, from the most remote place in Arctic Siberia to one of the world's toughest ultra marathons in the Canadian Rockies, anthropologist and host Niobe Thompson takes us on a journey that weaves cutting-edge science with gripping adventure, and asks what today's runners can learn from our evolutionary past. Finally understand the science and sport of barefoot running.
Robinson in ruins. Patrick Keiller (2011).
"Patrick Keiller's latest essay-film in his Robinson series (London and Robinson in Space) combines ironic, witty denunciation of society's domination by markets with homage to the wonders of the biosphere. Newly released from prison, mysterious would-be scholar Robinson has been haunting the Oxfordshire countryside with a ciné camera. A few months later, film cans and a notebook are discovered in a derelict caravan: the results of his search for the origins of capitalist catastrophe in the English landscape. Researchers assemble the material as a film, narrated by their institution's co-founder."--Container.
Duch: master of the forges of Hell. Rithy Panh (2013).
Between 1975 and 1979, the Khmer Rouge was responsible for the death of 1.8 million people, a quarter of the Cambodia population. Kaing Guek Eav, known as Duch, directed both the M13 and S21 centers where tens of thousands of people were tortured and executed. A horrifying in-depth interview with Duch, who candidly talks about his ascension in the Khmer Rouge party, and his involvement in the mass murder of his fellow Cambodians.
Un soir après la guerre. Rithy Panh (2008).
August 1992. Savannah, 28 years old, finds himself back in Phnom Penh after four years on Cambodia's northern front, fighting the Khmer Rouge. Like the rest of his generation, he's known only war since infancy, camps, hunger and massacres. All he's got left now is his uncle, Sôn, as the rest of the family was entirely annihilated by Pol Pot's regime. One evening, at the dance bar where his war buddy Maly is working as bouncer, Savannah falls prey to the charm of the beautiful Srey Poeuv, one of the bar girls, who, from time to time, also serve the desires of the richest patrons. The two young people from a sacrificed generation are soon to be victims to their own passion. Madly in love with Srey Poeuv, Savannah goes back to the ring and kick boxing. He tries to convince the young girl to give up her work as "companion" and to live a "normal life" with him. They make a pact, to try never again to sell their bodies, in any fashion. But it's already too late in their precarious universe, passion dragging along with it the one who wanted to live toward an ineluctable death, while forcing the one who wanted to die to live with the memory of their love.
The missing picture. Rithy Panh (2014).
Explores filmmaker Rithy Panh's quest to create the missing images during the period when the Khmer Rouge ruled over Cambodia between 1975 and 1979. The film uses wood figures, archival footage, and narration to recreate recount his firsthand experiences of his family and friends' suffering during the communist regime.
Blunden Harbour. Robert Gardner (2004).
Portrays Pacific Northwest Indian life as seen in one group of Kwakiutl Indians living in Blunden Harbour and sustaining themselves by the sea. The narration recounts their legends and depicts their present workday life.
Box of treasures. Robert Gardner (2007).
"In the late 19th century, the Canadian government removed ritual objects from the possession of the Kwakiut'l. In 1921 the Kwakiut'l people of Alert Bay, British Columbia, held their last secret potlatch. In 1980 at Alert Bay, the U'mista Cultural Centre...opened its doors to receive and house the cultural treasures which were seized decades earlier..."--Container.
Gods and kings = Dioses y reyes. Robin Blotnick (2013).
In the muddy market square of Momostenango, Guatemala, where shamans burn offerings in the shadow of the Catholic church, a bizarre spectacle is arriving. Horror movie monsters jostle through the crowd, followed by Mexican pop stars, Japanese game avatars, and dictators from the dark years of the 1980s. Unlike the folkloric performances long studied by anthropologists, the new Disfraz dance won't show up on any postcard. In some villages, it's even been banned for the way it frightens tourists. So how did these fiberglass masks of Xena: Warrior Princess come to be blessed in the smoke of Maya altars?--Container.
The chocolate farmer. Rohan Fernando (2012).
"In an unspoiled corner of southern Belize, cacao farmer Eladio Pop manually works his plantation in the tradition of his Mayan ancestors: as a steward of the land. But as the Pop family struggles to preserve their values, the world around them suddenly and dramatically changes. A tender portrait of a culture being faced with an 'adapt or die' ultimatum by the world around them"--Container.
Stories we tell. Sarah Polley (2013).
A "genre-twisting film by director Sarah Polley, who investigates the elusive truths of her eclectic family of storytellers as she playfully interrogates a cast of characters who each relate their version of the family mythology. Polley reveals the essence of family as she uncovers the secrets buried deep within-- "--Container.
Manakamana. Stephanie Spray (2013).
"Filmed entirely inside the narrow confines of a cable car, high above a jungle in Nepal that transports villagers to an ancient mountaintop temple, [Manakamana] is an acute ethnographic investigation into culture, religion, technology and modernity ... For centuries, devoted pilgrims hoping to reach the fabled temple needed to undertake an arduous multi-day journey. Today, because of a new cable car system, the entire trip takes just under 10 minutes ... [The film] opens a rich and vibrant window onto this world over the course of eleven such rides. Each is composed of a fixed shot, lasting between 9 and 10 minutes ... With every sequence, we are introduced to new passengers: an elderly man and his grandson, a trio of teenage rockers, a married couple, a mother and daughter, three wives. Through their shared conversations, anecdotes, observations about the surrounding landscape, and even their silence, a detailed picture of their lives emerges a story about history, tradition, and change"--Container.
Protection: Men and condoms in the time of HIV and AIDS. Steve Botkin (2010).
HIV/AIDS has ravaged entire populations in sub-Saharan Africa. Yet educational efforts to prevent the acceleration of the epidemic continue to clash with traditional cultural attitudes that view protected sex as unmanly. Protection provides a fascinating look at the origins of these attitudes, and examines how they are being kept alive by a set of hyper masculine myths that extol risk taking as an emblem of strength, virility, and potency. An eye-opening exploration of what it will take to make real and transformative change and eradicate HIV/AIDS once and for all.
Franz Boas, 1858-1942. T.W. Timreck (2010).
Profile of the German physicist who was responsible for shaping the course of American anthropology, by bringing discipline and order to a field that had previously dealt in subjective "race classification." Includes reflections and anecdotes by scholars and students, excerpts from journals and letters, and archival photographs. Discusses the Kwakiutl Indians, the principal subjects of Boas' field work.
The things I cannot change. Tanya Ballantyne (2010).
"Looks at a family in trouble, seen from the inside. There is the trouble with the police, the begging for stale bread at the convent, the birth of another child, and the father who explains his family's predicament. Although filmed in Montréal, this is the anatomy of poverty as it occurs in North America, seen by a camera that became part of the family's life for several weeks"--Container.
Night passage. Trinh Minh-ha (2004).
"Night Passage is a digital film on friendship and death. Made in homage to Miyazawa Kenji's classic novel 'The Milky Way Railroad,' the story evolves around the spiritual journey of a young woman, in the company of her best friend and a little boy, into a world of in-between realities. Their venture into and out of the land of 'awakened dreams' occurs during a long ride on a night train. The filmmaker elegantly depicts each encounter in two-dimensional space with a unique artistic gesture and ingeniously frames the passage as a series of rhythmic image sequences as seen through the window of a train."--Www.wmm.com.
The fourth dimension. Trinh Minh-ha (2001).
"An incisive and insightful examination of Japan through its art, culture, and social rituals. ... With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light."--Www.wmm.com.
Yumen Yumen. Xu Ruotao (2014).
"A collaboration between two Chinese artists, Xu Ruotao and Huang Xiang, and acclaimed American filmmaker J.P. Sniadecki, Yumen is a documentary-fiction hybrid that tells the story of a ghost town - Yumen, in China's western Gansu province - through a series of wandering characters and inventive vignettes. Produced with the support of Harvard's groundbreaking Sensory Ethnography Lab (People's Park, co-directed by Sniadecki, Leviathan, Sweetgrass and the upcoming Manakamana). Filmed in and around a once-thriving, oil-rich town that has since been left depleted and derelict, Yumen is a haunting, fragmented tale of hungry souls, restless youth, a wandering artist, and a lonely woman, all searching for human connection and a collective past among the town's crumbling landscape. One part "ruin porn," one part ghost story, and shot entirely on 16mm, the film brings together narrative gesture, performance art, and socialist realism into a crude and radiant collage that not only plays with convention and defies genre, but also pays homage to a disappearing life-world and a fading medium."--Container.
Aryan Kaganof's ten monologues from the lives of the serial killers. Aryan Kaganof (2014).
Documents Stelarc's of the Tokyo historical performance avant-garde, 1997. Aryan Kaganof (2014).
This work both documents Stelarc's performance art in Tokyo in 1997, but includes him talking about the piece in which he has remote viewers controlling his body through wires.
Matthew Barney creating stories. Aryan Kaganof (2014).
A documentary on the first retrospective exhibition of the art of Matthew Barney at the Boijmans Van Beuningen Museum, Rotterdam, Netherlands.
Night is coming: A threnody for the victims of Marikana. Aryan Kaganof (2014).
The director theorizes through the events of the Marikana Massacre about South African society, past and future. He represents the massacre of striking mine workers by the South African Police Service in 2012 as ritual murder, a form of sacrifice heralding ominous change.
Two Ron Athey films. Aryan Kaganof (2014).
Ron Athey is the Trojan whore: Performance artist Ron Athey creates a show using blood art and body-piercing. Ron Athey: it's scripted: Ron Athey discusses his performance art, which features blood art and body-piercing. Includes footage of his show from the Freakzone Festival in Lille, France in May 1977.
An inconsolable memory. Aryan Kaganof (2013).
Chronicles the history of the Eaon Group, a 20th century cultural organization headquarted in District Six in Cape Town, Africa. Focuses on the group's opera company, and how legislated "coloureds" could perform Italian operas despite naysayers. Uses archival footage and interviews with surviving members to document the continuously shifting collective memory of the political and cultural history surrounding the group.
Asephale's first performance the reserection. Aryan Kaganof (2013).
Five short films by Aryan Kaganof.
Diabelli variation XXXIII & other erratic short films. Aryan Kaganof (2013).
Five short films by Kaganof & Deane, originally released 2002-2003.
A funeral a strategy of difference and repetition. Aryan Kaganof (2012).
Philosophical road-movie about the deranged paedophile Friedrich Nietzsche and his murder obsessed self-mutilating sister Elisabeth.
Flames of passion. Aryan Kaganof (2012).
Aryan Kaganof's Re:Mix of David Lean's Brief Encounter starring Celia Johnson mashed up with Samuel Beckett's Rockaby as performed by Miss Billie Whitelaw.
Interactions a strategy of difference and repetition. Aryan Kaganof (2012).
Interactions is an edited excerpt from filmmaker, writer and artist Aryan Kaganof's new short film of the same name. Originating out of a commission by the Theater Institut Netherlands which wanted a "film report" on the Expert Meeting of art professionals held at the Goethe Institute in Johannesburg. Kaganof created a satire of bureaucracy, cultural administration and distorted power balances.
Nice to meet you, please don't rape me. Aryan Kaganof (2012).
The movie follows three rapists in South Africa, who live in a rape culture. Sexual, verbal, political, moral and psychological rape is common practice.
Sweetness. Aryan Kaganof (2012).
Sweetness exploits the mosaic form in order to present the discontinuous variety and incongruity of ordinary life. The monotonous demands of the film community - that cinema be used to present a fixed point of view from a single plane of perspective (the protagonist's) - represents a failure to see the real form of film at all. It is as if the public were suddenly to demand that department stores have only one department.
Venom and eternity. Aryan Kaganof (2012).
In the most general way, sexual behaviour is opposed to everyday behaviour as expenditure is to saving. If we behave in accordance with reason, we acquire all sorts of goods, we work to augment our resources or our learning, and strive in various ways to acquire more. As a rule, such conduct determines our sense of ourselves in social life. But at the moment of sexual fever we behave in a completely different way: we expend our energy without restraint, and squander a considerable amount of our vitality violently and with no profit to ourselves. Sexual pleasure has so much in common with destruction that we have named the moment of its paroxysm the 'little death'. In general, passionate destruction and reckless betrayal alone have the power to cause us to enter into the world of sex. Suffering and sadistically inflicted death defer the moment of collapse by no means do they run counter to it. In the same way prostitution, erotic vocabulary, the inevitable connection between sexuality and excretion, contribute to make the world of the senses a world of loss and destruction. It appears that our only true happiness is to spend vainly, and we always want to be sure of the uselessness of our expenditure we want to feel as far away as possible from th responsible world in which augmentation of resources is the rule. But we could go no further, since we would like to oppose it, and commonly in eroticism there is an impulse towards aggressive hatred, an impulse towards betrayal. This is why distress is connected to it, and wy, in counterpart, if the hatred is powerless, and the betrayal involuntary, the erotic element becomes ridiculous.
A leisure society of severe preponderence. Aryan Kaganof (2011).
A movie about the cult Crossing Border festival in Den Haag, edition 1995. Among the others, there were Blixa Bargeld, Mark E. Smith, David Thomas (Pere Ubu), in an underground spoken world celebration ... Interesting event with coolest of writers and musicians from all over. Even the most entertaining person in the film is Belgian writer Herman Brusselmans, which has the biggest nose in modern Belgium literature.
Reverie and other post-minimalist short films. Aryan Kaganof (2011).
A collection of short films by Aryan Kaganof.
The dead man 2 return of the dead man. Aryan Kaganof (2011).
A student film loosely based on the stories of Georges Bataille which produces an atmosphere of anti-eroticism.
The exhibition of vandalism. Aryan Kaganof (2011).
"The exhibition of vandalism" is a film documenting a healing ceremony performed by Zim Ngqawana and his former pupil Kyle Shepherd in the ravaged body of the Zimology Institute for higher learning in January 2010. The film was directed, shot and edited by Aryan Kaganof of African Noise Foundation, as a springboard to a further improvisation, vandalizm, that took place live in Johannesburg's gallery momo on March 7, 2010. The event was a fundraising effort towards rebuilding the Zimology Institute, desecrated by vandals earlier that month.
The legacy. Aryan Kaganof (2011).
Documents the composer's panel convened by Jonathan Eato as part of the ISM-SASRIM Conference, Stellenbosch University, Friday 16 July 2010. Includes footage of a performance by Louis Moholo, Zim Ngqawana, Tete Mbambisa and Kyle Shepherd.
Tokyo elegy. Aryan Kaganof (2011).
Wasted. Aryan Kaganof (2011).
A young couple get lost in the rave scene in Amsterdam.
G-string blues. Aryan Kaganof (2010).
Films a day in the life of South African blues guitarist Syd Kitchen. He talks about his life and discusses his guitar technique. While waiting to perform at a local program, Syd humourously comments on the musicians playing before him. The film concludes with excerpts from that concert.
The Last Poets, an African American cultural group, formed on the anniversary of Malcom X's birthday, May 19, 1968 in Harlem, N.Y. Their works are considered a precursor to hip-hop. One of their founding members was Kain. This documentary interweaves scenes with Kain reminiscing, reciting some of his works and talking about his relationship with God, and some dramatic pieces.
The Uprising of Hangberg is an activist documentary filmed by Dylan Valley and Aryan Kaganof in response to the events of a particular day. The original music score is by Stellenbosch University music student, Natasje van der Westhuizen. The documentary provides raw footage and eyewitness accounts of the attempts by the Western Cape Provincial Administration and the City of Cape Town to evict residents from their homes in Hangberg, Hout Bay in the Western Cape, edited to both highlight the brutality of the riots but also the failed promises of local politicians, a microcosm of the failed promises of the larger South Africa. On 21 September 2010, Cape Town Metro Police officers entered the township to forcibly remove several township residents and destroy their homes which were built above the determined firebreak. The Rastafarian community in Hangberg is central to the narrative developed in the film, which also documents Rastafarian Nyabingi, a resident of Hangberg chanting and drumming the traditional music of the Rastafarian religion. The Uprising of Hangberg works not only on the artistic level, but also as a political intervention enabling a marginalized community to speak of their oppression and trauma.
Blue notes for Bra' Geoff. Aryan Kaganof (2009).
Music criric Gwen Ansell has described this documentary as "the most complete example caught on film of SA'a other jazz identity : the one that explores harmonic inspirations freed from the constraints of the I-IV-V mbaqanga chords, to create South African new music." Features Zim Ngqawana.
Civilization and other chimeras observed during the making of an exceptionally artistic feature film De beschaving en andere hersenspinsels beschouwd tijdens het maken van een uiterst kunstzinnige speelfilm. Aryan Kaganof (2009).
Kaganof chronicles the making of artist Dick Tuinder's directional debut, the independent film Winterland. Not a typical making-of documentary as it isn't until late in the film when the pieces of Kaganof's puzzle fall into place that becomes clear that Tuinder's film includes segments of Tuinder acting as himself directing his actors.
Short film commemorates the revolutionary values of May '68 in France, 40 years on. Kaganof has re-invented the cut-up technique for this film, transforming the "random" aspect of the editing into an area of reflection and synthesis.
Herman Hesse, flying & other short films. Aryan Kaganof (2008).
A collection of short films by Aryan Kaganof.
SMS Sugar Man. Aryan Kaganof (2008).
A film shot completely with mobile phones, this is set in the Johannesburg underworld, centering on a pimp who has three prostitutes or "sugars."
The man who mediated himself to a climax. Aryan Kaganof (2008).
A collection of short films by Aryan Kaganof.
"The Electronic Music Symposium and the Unyazi Festival of 2005 observed through the visionary and techno eye of Aryan Kaganof (SMS Sugar Man). Vibrations and hypnotism collude to create sound and visual empathies in theatres or in the street, on a pavement. One more chapter in the exploration of African culture by the South African multimedia artist, in the inextricable relationship between memory and the present, traditional instruments and computer-generated sounds. The film has been described as "an important document of an historic occasion" by Dr. Michael Blake and "a very interesting record of a rather odd event" by Professor Christine Lucia. UNYAZI OF THE BUSHVELD is the first production of the AFRICAN NOISE FOUNDATION featuring the seamless sound design of Joel Assaizky (Hard Copy, Bunny Chow)." -- New Music website: http://newmusicsa.org.za/node/188
Kyodai makes the big time. Aryan Kaganof (2005).
Kyodai is a young actor in a relationship with Stephanie. Their lives are glamorous as they revel in the night life of Amsterdam. However, Kyodai begins to change, having casual sex here and there, and treating Stephanie as his sado-masochistic partner.
Stoned (immaculate) and other terrible short films. Aryan Kaganof (2004).
A collection of short films by Aryan Kaganof.
Western4.33. Aryan Kaganof (2004).
B.T. is a truck driver on his way from Johannesburg to Luderitz in Namibia. When he gets there he watches the sunset. He thinks about his great grandfather who perished in the German concentration camp on Shark Island. He thinks about his girlfriend who broke up with him. Or he broke up with her? Memory blends the personal pain of heartbtreak with the grand, sweeping pain of history. Western4.33 is a meditation on the impossible colonial dream the attempt to "civilize" Africa.
Giant steps an afrocentric approach to blackness now. Aryan Kaganof (2004).
Performances by and interviews with a group of South African jazz musicians.
Bantu continua uhuru nihilismus. Aryan Kaganof (2003).
An afro avant dance piece. World premiere was during the National Arts Festival, Grahamstown. It is a film about the great deception called the "new South Africa", the hoax of "post-apartheid". It is also a film about survival, about the neccesity of getting by and a film about masks and why we in this country all still wear them.
Sharp Sharp! the Kwaito story. Aryan Kaganof (2003).
The first serious analysis in film of a musical genre which serves both as a compendium of world dance music and uniquely South African contribution to global dance culture. Since it burst onto the scene in the early '90s, kwaito has become the most powerful articulation of the daily experiences and dreams of the first generation of black South Africans to come of age after apartheid. Detailed interviews with major musicians, producers and DJs, illustrated by choice clips, make for a highly entertaining and informative kwaito tour for newcomers and veteran fans alike.
Nostalgia for the future. Aryan Kaganof (2000).
This work was the first of the RE:MIX series and had its world premiere during the International Film Festival Rotterdam as part of the Sonic Fragments project, where Kaganof delivered his manifesto The poetics of digital fragmentation.
Beyond ultra-violence uneasy listening by Merzbow: A short investigation. Aryan Kaganof (1998).
This portrait of the godfather of electronic noise, Masami Akita, takes its structure from Kurt Schwitter's "Merzbau", literally a "junk building". Akita explains "if music is sex then noise is its pornography".
Mondo Roxy no other drugs required. Aryan Kaganof (1998).
World premiere at the Molodist Festival in Kiev, Ukraine : a portrait of the Roxy Club in Amsterdam before it burned down. The Roxy was the temple of House music in Europe. The documentary contextualizes this temple in a apocalyptic fin-de-siecle period of declining Western power.
Techno space and flow in the radical frame. Aryan Kaganof (1996).
Techno is music to lose yourself in, to forget the daily drudgery for a while. The artistic imperatives and the musicological philosophical principles of the new generation of musicians and producers.It's not light material, and is indeed at times heavy going, although that has everything to do with the choice of musicians and theareticians interviewed. What makes techno: space and flow in the radical frame such an exceptional documentary is the manner in which the interviews are woen into a 50 minute long techno-video clip. The film maker has fully exploited all the existing digital video techniques in order to showcase the dizzying possibilities of the medium.
Food Chains. Sanjay Rawal (2014). .
A country auction, Can I get a quarter? and Reflexive musings. Robert Steven Aibel, et al. (2012). Documentary Educational Resources.
A country auction is "an ethnographic film about an estate auction in a rural community in Pennsylvania. It examines the personal, social and economic processes involved when a family dissolves their homestead"--Container.
Can I get a quarter? is "a short observation of the auction of objects that remained unsold after the all day sale of the real estate and possessions of Paul Leitzel as shown in the film, A Country Auction"--Container.
Reflexive musings is "a uniquely reflexive examination of the successes and failures of A Country Auction as an anthropological film. The four producers take part in a prolonged critical discussion of the original film"--Container.
The sweetest sound. Alan Berliner, et al. (2009). Lorber HT Digital.
"With the intimacy and humor of a personal essay, Berliner dives headfirst inside the American name pool in search of the treasures and dangers hidden inside his own name. A film that starts out in search of identity slowly transforms into a meditation on mortality. Along the way, he confronts his parents about the origins of his name, his sister about the names she gave her children and visits the Jim Smith Society, the National Linda Convention, the streets of New York, Holocaust name memorials, the Vietnam Memorial and the AIDS Quilt. He also stumbles upon some surprising news about name changes at Ellis Island."--Director's Website.
Nobody's business. Alan Berliner, et al. (2009). Lorber HT Digital.
"Alan Berliner takes on his reclusive father as the reluctant subject of this poignant and graceful study of family history and memory. What emerges is a uniquely cinematic biography that finds both humor and pathos in the swirl of conflicts and affections that bind father and son. Ultimately this complex portrait is a meeting of the minds - where the past meets the present, where generations collide, and where the boundaries of family life are pushed, pulled, stretched, torn and surprisingly at times, also healed."--Container.
Wide awake. Alan Berliner, et al. (2009). Lorber HT Digital.
"Alan Berliner's uniquely personal tour through his life-long obsession with insomnia."--Container.
The family album. Alan Berliner, et al. (2009). Lorber HT Digital.
Utilizing a vast collection of home movies found at flea markets and yard sales, as well as oral histories and family recordings from the 1920s to the 1950s, the filmmaker weaves together a remarkable and emotionally electrifying portrait of the changing face of the American family. These authentic artifacts of American history and culture are edited together to illustrate the entire cycle of life from birth to death, from childhood to adulthood, to provide a moving experience of the universal drama of family life during the first half of the twentieth century.
Intimate stranger. Alan Berliner, et al. (2009). Lorber HT Digital.
"You've probably never heard of Joseph Cassuto, but by the end of this film you may think that he was the most elusive, fascinating and baffling man to have ever lived. Cassuto is filmmaker Alan Berliner's maternal grandfather, a Palestinian Jew who was a cotton buyer for the Japanese in Egypt prior to World War II. With Hitler's armies just miles away from Alexandria, Cassuto's family is split in half. They reunite in New York after the war, but Cassuto is restless there. He moves to Japan to spend eleven months of the year, virtually abandoning his wife and children in the U.S. while he pursues his business interests and a life-long love affair with Japanese culture. Seventeen years after his death, his grandson has constructed a poetic and emotional jigsaw puzzle out of the voluminous memorabilia of his grandfather's life story. What emerges is a curious legacy -- admiration and love from Cassuto's Japanese business associates; resentment from his family. Depending on who you ask, Cassuto was either a romantic adventurer or a shirker of family responsibility; a man at the center of historic events or a nobody."--Director's Website.
Brother's keeper. Joe Berlinger, et al. (2003). Docurama : Distributed by New Video.
"Brother's Keeper tells the story of the "Ward Boys," four eccentric brothers who shared the same dilapidated two-room shack for over 60 years. Living in isolation, without heat or running water, these elderly bachelors had virtually no contact with the outside world--until one was found dead in the bed he shared with his brother. By day's end, Delbert Ward "confessed" to suffocating his ailing brother as an act of mercy, but Munnsville believed Delbert had been framed. Was Delbert, an uneducated hermit with a low IQ, an innocent victim of police abuse? Was it a mercy killing--or was there another motive?"--Container.
The Paradise lost collection. Joe Berlinger, et al. (2008). Docurama.
Contains Paradise lost, the documentary investigating the gruesome 1993 murders of three Arkansas eight-year-olds and the teenagers accused of killing them; and Revelations : Paradise lost 2, which updates the story and delves into the shocking aftermath of the trials.
Terra blight. Isaac Brown, et al. (2012). Cinema Guild.
"Examines America's consumption of technology and the global problem of e-waste. The documentary traces the life cycle of computers from creation to disposal, and uncovers how these products are disposed of and where exactly they wind up. The United States, for example, is the only industrialized country that does not prohibit the export of its e-waste. So while seventy percent of America's e-waste is buried in toxic landfills, the rest is sent to developing countries. Terra Blight brings us to one such landfill in Ghana, where young boys scavenge through mountains of broken computers, keyboards and laptops searching for copper and other metals. The documentary also shows us a possible solution to the problem, taking us inside a new high-tech facility in the United States where e-waste is efficiently recycled."--Container.
Roses in December. Ana Carrigan, et al. (2007). First Run Features.
Chronicles Jean Donovan's life, from her affluent childhood in Connecticut, to her decision to volunteer with the Maryknolls in El Salvador, to her tragic death. This is the story of the four women missionaries who were murdered in El Salvador in December, 1980. Explores the circumstances surrounding the murders, what happened afterward, and the pervading political situation.
Leviathan. Lucien Castaing-Taylor, et al. (2013). Cinema Guild.
In this cinema verite work set entirely on a groundfish trawler out of New Bedford, Mass., the filmmakers have avoided the standard equipment of interviews, analysis and explanation. A product of the Sensory Ethnography Lab at Harvard, the film offers not information but immersion in wind, water, grinding machinery and piscine agony. The brutality of fishing, as opposed to its romance, is emphasized here. The experience is often unnerving and sometimes nauseating, because of the motions of the juddering, swaying hand-held camera and also because of the distended eyes, gasping mouths and mutilated flesh of the catch. Presented without dialogue, speech is drowned out by the roar of the elements and the screech and thump of engines and hydraulic winches.
We are the ... of communism. Zi'en Cui, et al. (2010). DGenerate Films.
When the Yuanhai Migrants Children's School is shut down by city officials for unclear reasons, the students and teachers manage to continue classes where they can find room. These students face both social and administrative prejudice due to their families' marginalized status and are typically relegated to makeshift schools for migrants, with poor facilities and sporadic shutdowns by local officials. This documentary follows the personal journeys of the students as they battle bureaucratic corruption for their right to learn.
Inhaling the spore: a journey through the Museum of Jurassic Technology. Leonard Feinstein, et al. (2004). Microcinema International distributor.
"Like the first museums of the 17th century, the fantastic array of exhibits at the Museum of Jurassic Technology suggests a modern-day 'cabinet of curiosities,' filled with juxtapositions of the genuine, the strange, and the truly unexplainable. As its founder, David Wilson reveals 'We like experiences that break the hard shell of certainty.' Inhaling the Spore explores how this remarkable museum inspires us to wonder at the marvels of man and nature...and wonder whether any of it could possibly be true."--Container.
A dedicated life. Kazuo Hara, et al. (2007). Facets Video.
Film about the life and last years of the novelist Inoue Mitsuharu; with the novelist himself and other contemperary authors appearing in the film.
Here lies my heart the fishing village of El Pardito Island = Aquí se queda mi corazón : el pueblito de pescadores en la isla El Pardito. Linn Harter, et al. (2010). Montaña Media.
"The beauty of Mexico's Sea of Cortez is brought to life as we explore the unique life of a small fishing village on El Pardito Island. Pepe Cuevas is a second generation fishermen who lives on the island with his son and daughter. Various generations describe their lives growing up on this remote island. A younger generation has left the island to form a popular ranchera band. Several of their lively songs serve as a backdrop to the beautiful images of the fishermen and their life on the sea. Pepe's funny and light-hearted nature warms the soul as he describes a life he loves, but his mood changes when he talks seriously about the problems of overfishing and a way of life that may be disappearing"--container.
The fall of womenland. Xiaodan He, et al. (2009). Cinema Guild.
A documentary on the unique sexual culture of the Mosuo people, a small minority situated in the southwest of China, and one of the last remaining matriarchal societies in the world. Without a formal marriage contract, the Mosuo traditionally build relationships based on free love and sexual satisfaction ("walking marriages"). But can the sexual liberty and power of the Mosuo women survive as modern Chinese society slowly encroaches their ancestral land? The film explores the present reality for the Mosuo people as well as the dangers that threaten their inherited way of life--Container.
The 3 rooms of melancholia. Pirjo Honkasalo, et al. (2004). Icarus Films.
Reveals the psychological devastation the Chechen conflict has inflicted on children. Focuses on three rooms: a military academy near St. Petersburg; Crozny, Chechnya where families struggle to survive in barely habitable buildings; and, the nearby republic of Ingushetia where refugee camps are set up. Using minimal dialogue and evocative music, the film depicts the emotional state of children affected by war.
Searching For Lin Zhao’s Soul. Jie Hu, et al. (2009). dGenerate Films.
Lin Zhao, a Christian and a student of Beijing University, grew from a pure, loyal follower into a valiant fighter against the Communists. She was imprisoned for eight years and then executed. She left thousands of words written in her own blood to expose the absurdity and cruelty of those days.
Though I am gone. Jie Hu, et al. (2007). dGenerate Films.
Bian Zhongyun, vice principal of a prestigious Beijing school, was tortured to death in 1966, believed to be the first victim among the teachers killed by their students during the "Red August" of 1966 as the Cultural Revolution began in Mainland China. The film, drawing on photographs taken by Bian's husband, Wang Jingyao, depicts the event and demonstrates how the family members, students and colleagues of Bian experienced the terror.
Disorder (Xian shi shi guo qu de wei lai). Weikai Huang, et al. (2009). dGenerate Films.
The film combines more than twenty street scenes by amateur videographers into a collage, revealing absurd facets of life in a fast-paced urban city.
The blood of Yingzhou District. Thomas Lennon, et al. (2007). Cinema Guild.
Examines the hidden AIDS epidemic in China through the eyes of infected children, orphaned after the deaths of their parents from the same disease.
Waiting for Harry. Kim McKenzie, et al. (2012). Royal Anthropological Institute.
The film is concerned with a burial ceremony carried out by the Anbarra people of the Blyth River near Maningrida, Arnhem Land. Frank's brother has died, and Frank wishes to bury him in the traditional manner. The ceremony continues for several weeks and is held up by the absence of Harry, uncle of the dead man, who must be present to ensure that the motifs on the coffin are appropriate.
Bethel: community and schizophrenia in northern Japan. Karen Nakamura, et al. (2010). Manic Productions.
For those who wonder about how schizophrenia and its patients are dealt with in different countries and cultures from medical and therapeutic points of view, this film is be a good start. Dr. Nakamura captures the corners of the medical treatment, therapeutic treatment, and the Japanese philosophy that touched them all. This documentary looks at Bethel House, founded in Hokkaido, Japan in 1984 to support people with psychiatric disabilities. Also shows the how the community setting and programs influence outcome and progress.
A Japanese funeral. Karen Nakamura, et al. (2010). Karen Nakamura.
"A young man dies unexpectedly at the age of 39. Over the next three days, we witness Japanese funeral rites with a twist - the man and his family are Christian."--Container.
Red persimmons: a record of people living with persimmons. Shinsuke Ogawa, et al. (2001). First Run/Icarus Films.
Using film footage and composition notes left by the late Ogawa Shinsuke, Chinese director Peng Xiaolian shot additional film and completed the work, which colorfully yet elegantly depicts the manufacturing process of the Kaminoyama red persimmon. The inhabitants of the tiny Japanese village of Kaminoyama explain that it is the perfect combination of earth, wind and rain that makes their village's persimmons superior to those grown anywhere else, including the village just a few miles away. Ogawa's larger subject, however, is to memorialize a very special part of Japanese culture and to share its beauty with us. It is a record of the ineluctable forces of modernization that are slowly bringing to an end Japan's traditional culture, the end of a centuries-old way of life.
S21 the Khmer Rouge killing machine. Panh Rithy, et al. (2003). First Run/Icarus Films : Human Rights Watch.
A survivor of the Khmer Rouge genocide in Cambodia confronts his captors at the notorious detention center codenamed S21, where 16,000 men, women, and children were tortured and killed, their "crimes" meticulously documented to justify their execution.
People of the Rice Paddies. Panh Rithy, et al. (2004). Blaq Out.
This is the story of Vong Poeuv, his wife Yim Om, and their seven daughters. It shows the life of an ordinary Cambodian rice-farmer and his family. When the father dies after being infected by a thorn, the family has an even harder life to face. They struggle to survive, yet life must continue.
Singapore GaGa. Tan Pin Pin, et al. (2006). Objectifs Films.
Singapore GaGa is a 55-minute video documentary on the sights and sounds of Singapore. It makes use of mass displays, such as the National Day Parade, school cheers and public announcements as well as performances by harmonica virtuoso Yew Hong Chow, avant garde pianist Margaret Leng Tan and itinerant buskers, to showcase Singaporeans' complex relationship with Singapore. The documentary touches on the desire to be heard, to be seen and to belong, both to Singapore and to the present.
Preschool in three cultures revisited Japan, China and the United States. Joseph Jay Tobin, et al. (2009). J.J. Tobin.
"This set of videos shows typical days in preschools in China, Japan, and the United States, with narration tracks that present explanations and reflections of early childhood educators from each country. There is also a short introduction, which explains the project's goals and method."--Container.
Includes revisits to the three schools featured in A Videotape companion to Preschool in three cultures (1989).
A videotape companion to Preschool in three cultures Japan, China and the United States. Joseph Jay Tobin, et al. (1989). Fourth Wave Productions.
Research footage from a typical day in preschools of three different cultures.
Round trip. Angela Torresan, et al. (1999). The University of Manchester, distributed by RAI.
"Portrait of a Brazilian woman and her friends, now living in Lisbon, exploring the basis of their sense of identity in the context of a transnational way of life."--Container.
Crossing borders. Arnd Wächter, et al. (2010). Crossing Borders Films Ltd.
"Crossing Borders is a feature documentary that follows four Moroccan and four American university students as they travel together through Morocco and, in the process of discovering "The Other," discover themselves. With group travels and frank discussions, the students confront the complex implications of the supposed "clash of civilizations" between Islam and the West. The relationships formed through shared experiences contrast sharply with the media-shaped views Americans and Muslims have of each other. Humor, honesty and a willingness to be challenged all bring individuals closer to each other and the relationships that develop disarm hidden stereotypes"--Container.
Miss Gulag. Maria Yatskova, et al. (2010). Women Make Movies.
Follows three female prisoners in Siberian prison UF91-9, preparing to compete in a beauty pageant. Through the pageant emerges a complex narrative of the lives of the first generation of women to come of age in post-Soviet Russia. Miss Gulag explores the individual destinies of three women: Yulia, Tatiana, and Natasha, all bound together by long prison sentences and circumstances that have made them the vigilantes of their own destinies.
My father's house. Dayong Zhao, et al. (2011). dGenerate Films.
"In Nigeria, Pastor Daniel Michael Enyeribe has a revelation to bring the word of God to China. He joins a booming community of African merchants who have settled in the southern city of Guangzhou and established the Royal Victory Church for both Africans and Chinese to worship. The church functions as the spiritual center for the ever-growing African trader community, who struggle with cultural, personal and financial challenges. After being raised by police enforcing strict laws regulating religious practice, Pastor Daniel flees to Hong Kong, where he uses video conferencing to lead his congregation from afar. His colleague Pastor Ignatius assumes daily management of the church, while struggling to support his Chinese wife and their young child."--Container.
A Balinese trance seance and Jero on Jero, a Balinese trance seance observed. Linda Connor, et al. (2007). Documentary Educational Resources.
In a Balinese trance seance, Jero Tapakan, a spirit medium in a small, central Balinese village, consults with a group of clients in her shrine house. Filmed in 1978.
In Jero on Jero, anthropologist Linda Connor and filmmakers Tim and Patsy Ash return to Bali and present Jero with a videorecording of the previous film and elicit comments from her about the film and her views on the causes and treatments of disease.
Celso and Cora. Gary Kildea, et al. (2011). Icarus Films.
Focuses on a family in a squatter settlement in the Philippine capital of Manila to depict Third World poverty.
The women's olamal the organisation of a Maasai fertility ceremony. Melissa Llewelyn-Davies, et al. (2005). Documentary Educational Resources.
Discusses a fertility ceremony of the Maasai women in Africa.
Tempus de baristas. David MacDougall, et al. (1997). Berkeley Media [distributor.
Tempus de baristas (Time of the barmen) profiles three goatherders in the mountains of eastern Sardinia and explores a traditional way of life that is rapidly disappearing. The subjects of this film include 17-year-old Pietro, his 62-year-old father, Franchiscu, and their friend, Miminu.
Imagining Indians. Victor Masayesva, et al. (2007). Documentary Educational Resources.
Using an eclectic mix of interviews, staged scenes and graphic imagery, this film represents a Native American's view of the disparity between self-perception and the white culture's principally Hollywood-inspired interpretations of American Indians.
Trance and dance in Bali. Margaret Mead, et al. (2005). Penn State Media Sales.
Explores the themes of trance and dance in the rituals and religion of Bali through a form of the kris dance, a Balinese ceremonial dance drama in which the struggle between the witch and the dragon is played out to the accompaniment of comic interludes and violent trance seizures. Filmed at the village of Pagoetan, 1937-39.
Childhood rivalry in Bali and New Guinea. Margaret Mead, et al. (2006). Pennsylvania State University Media Sales.
A series of scenes comparing the responses of Balinese and Iatmul children of the same age to the mother's attending to another baby, to the ear piercing of a younger sibling, and to the experimental presentation of a doll.
Nice coloured girls. Tracey Moffatt, et al. (2009). Women Make Movies.
In this film excerpts from 16th century sailor's journals concerning sexual exploitation of native Australian women are transposed over current day scenes of prostitution trade among aboriginal native women.
Night cries: a rural tragedy. Tracey Moffatt, et al. (2007). Women Make Movies.
A fictional story in which a middle-aged Aboriginal woman resents the responsibility of caring for her old white mother. Her memories and dreams invade her routine until the old woman's mortality fuels the daughter's guilt and loss. Filmed entirely in a studio, with vibrantly colored sets and extremely creative use of ambient sound.
The good woman of Bangkok. Dennis O'Rourke, et al. (2009). Camerawork.
An intimate portrait of a reluctant Thai prostitute. She shares details of life as a prostitute and her innermost thoughts and disillusionment. Documents the relationship between Aoi and the filmmaker.