Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography
Leslie Devereaux, Roger Hillman
University of California Press, May 15, 1995 - Art - 362 pages
Filmed images dominate our time, from the movies and TV that entertain us to the news and documentary that inform us and shape our cultural vocabulary. Crossing disciplinary boundaries, Fields of Vision is a path-breaking collection that inquires into the power (and limits) of film and photography to make sense of ourselves and others. As critics, social scientists, filmmakers, and literary scholars, the contributors converge on the issues of representation and the construction of visual meaning across cultures.
From the dismembered bodies of horror film to the exotic bodies of ethnographic film and the gorgeous bodies of romantic cinema, Fields of Vision moves through eras, genres, and societies. Always asking how images work to produce meaning, the essays address the way the "real" on film creates fantasy, news, as well as "science," and considers this problematic process as cultural boundaries are crossed. One essay discusses the effects of Hollywood's high-capital, world-wide commercial hegemony on local and non-Western cinemas, while another explores the response of indigenous people in central Australia to the forces of mass media and video. Other essays uncover the work of the unconscious in cinema, the shaping of "female spectatorship" by the "women's film" genre of the 1920s, and the effects of the personal and subjective in documentary films and the photographs of war reportage.
In illuminating dark, elided, or wilfully neglected areas of representation, these essays uncover new fields of vision.
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Aboriginal aesthetic Alexander Dovzhenko Alexander Kluge Alice Springs allusion anthropology argue audience Australian Bakhtin Barrymore's become Beloved Rogue Broadcasting CAAMA camera carnival character cinema communities construction contemporary context create critical cultural David MacDougall destruction developed dialogue discourse documentary film Eco's essay ethnographic film ethnographic filmmakers example experience female fiction film's filmic filmmaker Gardner gender genre grotesque body Hamar horror film human identity images Imparja indigenous media intertextual Jean Rouch language literary living male body modern modernist modes montage moral narration narrative nature novel object particular perspective photographic political position practices production question realist reality relation relationship representation represented Robert Gardner scenes screen sense sequence sexual shot slasher film social Sovereign Hill space specific spectator stories structure studies symbolic television theme theory tion traditional transformation viewer visual Visual Anthropology warfare Warlpiri woman women writing Yuendumu