The looking machine
Essays on cinema, anthropology and documentary filmmaking
by David MacDougall, Paul Henley, Andrew Irving
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Afghanistan, Aland Islands, Albania, Algeria, American Samoa, Andorra, Angola, Anguilla, Antarctica, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Azerbaijan, Bahamas, Bahrain, Bangladesh, Barbados, Belarus, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Bouvet Island, Brazil, British Indian Ocean Territory, British Virgin Islands, Brunei, Bulgaria, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Cape Verde, Cayman Islands, Central African Republic, Chad, Chile, China, Christmas Island, Cocos [Keeling] Islands, Colombia, Comoros, Congo [DRC], Congo [Republic], Cook Islands, Costa Rica, Cote d'Ivoire, Croatia, Cuba, Cyprus, Czech Republic, Denmark, Djibouti, Dominica, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Falkland Islands [Islas Malvinas], Faroe Islands, Fiji, Finland, France, French Guiana, French Polynesia, French Southern Territories, Gabon, Gambia, Georgia, Germany, Ghana, Gibraltar, Greece, Greenland, Grenada, Guadeloupe, Guam, Guatemala, Guernsey, Guinea, Guinea-Bissau, Guyana, Haiti, Heard Island and McDonald Islands, Honduras, Hong Kong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Isle of Man, Israel, Italy, Jamaica, Japan, Jersey, Jordan, Kazakhstan, Kenya, Kiribati, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Luxembourg, Macau, China, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Marshall Islands, Martinique, Mauritania, Mauritius, Mayotte, Mexico, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Myanmar [Burma], Namibia, Nauru, Nepal, Netherlands, New Caledonia, New Zealand, Nicaragua, Niger, Nigeria, Niue, Norfolk Island, Northern Mariana Islands, North Korea, Norway, Oman, Pakistan, Palau, Palestinian Territories, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Pitcairn Islands, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Helena, Saint Kitts and Nevis, Saint Lucia, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Samoa, San Marino, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Solomon Islands, Somalia, South Africa, South Georgia and the South Sandwich Islands, South Korea, Spain, Sri Lanka, Sudan, Suriname, Svalbard and Jan Mayen, Swaziland, Sweden, Switzerland, Syria, Taiwan, China, Tajikistan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tonga, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Turks and Caicos Islands, Tuvalu, U.S. Minor Outlying Islands, U.S. Virgin Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican City, Venezuela, Vietnam, Wallis and Futuna, Western Sahara, Yemen, Zambia, Zimbabwe, Bonaire, Sint Eustatius, Saba, Curaçao, Saint Barthélemy, Saint Martin, French part, Sint Maarten (Dutch Part), South Sudan
Endorsements
This book is nothing less than a call for the redemption of documentary cinema by one of the world's leading ethnographic filmmakers and writers on film. In a dozen wide-ranging essays, it explores the complex relationships between human perception, the senses, and the mind and eye behind the camera. Writing from the position of a filmmaker whose career combines a fascination with cinema with extensive experience in the field of visual anthropology, MacDougall provides unique insights into the history of documentary, how films evoke space, time and physical sensations, and the intellectual and emotional links between filmmakers and their subjects. While defending the principles that inspired documentary's early practitioners, MacDougall urges us to consider how the form can become a 'cinema of consciousness' that more accurately reflects the often overlooked but familiar realities of our everyday lives, especially in this era of reality television, historical re-enactments, designer packaging, and corporate authorship. Building on his own experience in filmmaking, he argues that this means resisting pressures for self-censorship and the inherent ethnocentrism of our own society and the societies we film. This book adds new thought-provoking commentaries on cinema to those that readers will know from MacDougall's previous volumes of essays. They are written in a speculative, lucid, and jargon-free style and will provide essential reading for students in cinema studies, filmmaking, and visual anthropology. MacDougall's award-winning films include many classics of ethnographic cinema, among them To Live with Herds, The Wedding Camels, Photo Wallahs, Doon School Chronicles, and Gandhi's Children.
Reviews
This book is nothing less than a call for the redemption of documentary cinema by one of the world's leading ethnographic filmmakers and writers on film. In a dozen wide-ranging essays, it explores the complex relationships between human perception, the senses, and the mind and eye behind the camera. Writing from the position of a filmmaker whose career combines a fascination with cinema with extensive experience in the field of visual anthropology, MacDougall provides unique insights into the history of documentary, how films evoke space, time and physical sensations, and the intellectual and emotional links between filmmakers and their subjects. While defending the principles that inspired documentary's early practitioners, MacDougall urges us to consider how the form can become a 'cinema of consciousness' that more accurately reflects the often overlooked but familiar realities of our everyday lives, especially in this era of reality television, historical re-enactments, designer packaging, and corporate authorship. Building on his own experience in filmmaking, he argues that this means resisting pressures for self-censorship and the inherent ethnocentrism of our own society and the societies we film. This book adds new thought-provoking commentaries on cinema to those that readers will know from MacDougall's previous volumes of essays. They are written in a speculative, lucid, and jargon-free style and will provide essential reading for students in cinema studies, filmmaking, and visual anthropology. MacDougall's award-winning films include many classics of ethnographic cinema, among them To Live with Herds, The Wedding Camels, Photo Wallahs, Doon School Chronicles, and Gandhi's Children.
Author Biography
Andrew Irving is a Senior Lecturer in Social Anthropology and Director of the Granada Centre for Visual Anthropology at the University of Manchester
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date January 2019
- Orginal LanguageEnglish
- ISBN/Identifier 9781526134097 / 1526134098
- Publication Country or regionUnited Kingdom
- ReadershipGeneral/trade; College/higher education; Professional and scholarly
- Publish StatusPublished
- Dimensions234 X 156 mm
- SeriesAnthropology, Creative Practice and Ethnography
- Reference Code11405
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