U of Minnesota Press, 2003 - 400 pages
One of the most influential figures in documentary and ethnographic filmmaking, Jean Rouch has made more than one hundred films in West Africa and France. In such acclaimed works as Jaguar, The Lion Hunters, and Cocorico, Monsieur Poulet, Rouch has explored racism, colonialism, African modernity, religious ritual, and music. He pioneered numerous film techniques and technologies, and in the process inspired generations of filmmakers, from New Wave directors, who emulated his cinema verite style, to today's documentarians. Cine-Ethnography is a long-overdue English-language resource that collects Rouch's key writings, interviews, and other materials that distill his thinking on filmmaking, ethnography, and his own career. Editor Steven Feld opens with a concise overview of Rouch's career, highlighting the themes found throughout his work. In the four essays that follow, Rouch discusses the ethnographic film as a genre, the history of African cinema, his experiences of filmmaking among the Songhay, and the intertwined histories of French colonialism, anthropology, and cinema. And in four interviews, Rouch thoughtfully reflects on each of his films, as well as his artistic, intellectual, and political concerns. Cine-Ethnography also contains an annotated transcript of Chronicle of a Summer--one of Rouch's most important works--along with commentary by the filmmakers, and concludes with a complete, annotated filmography and a bibliography. The most thorough resource on Rouch available in any language, Cine-Ethnography makes clear this remarkable and still vital filmmaker's major role in the history of documentary cinema.
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The Possessed Dancer the Magician the Sorcerer the Filmmaker and the Ethnographer
The Mad Fox and the Pale Master
A Life on the Edge of Film and Anthropology
Les maitres fous The Lion Hunters and Jaguar
The Politics of Visual Anthropology
Chronicle of a Film
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Page 32 - Vertov's famous passage: I am the kino-eye, I am the mechanical eye, I am the machine that shows you the world as only a machine can see it. From now on I will be liberated from immobility. I am in perpetual movement. I draw near to things, I move myself away from them, I enter into them, I travel toward the snout of a racing horse. I move through crowds at top speed, I precede soldiers on attack, I take off with airplanes, I flip over on my back, I fall down and stand back up as bodies fall down...
Page 45 - Why? Because we are people who believe that the world of tomorrow, the world we are in the process of building, cannot be viable without a regard for cultural differences; the other cannot be denied as his image transforms. For this it is necessary to be aware, and for that knowledge there is no better tool than ethnographic film.