Ciné-Ethnography: Jean Rouch Edited and translated by Steven Feld. Minneapolis, MN: University of Minnesota Press, $ cloth; $ paper. Jean Rouch was a French filmmaker and anthropologist. He is considered to be one of the Godard said of Rouch in the Cahiers du Cinéma (Notebooks on Cinema) n°94 . Portis, Irene – Jean Rouch: The Semiotics of Ethnographic Film Irene Portis – Winner Cambridge, MA August 7, ; Rothman, William (editor). Cine-Ethnography has 19 ratings and 0 reviews. One of the most influential figures in documentary and ethnographic filmmaking, Jean Rouch.
Steven Feld is professor of music and anthropology at Columbia University. Subtitles, once sync sound is possible, present no simple solution. Steven Feld is professor of music and anthropology at Columbia University.
He was buried in Niamey, Niger. Jean Rouch began his long association with African subjects inwhen he arrived in Niamey as a French colonial hydrology engineer to supervise a construction project in Niger.
This is the sort of criticism that may be levelled against Rouch, but no other. Books by Jean Rouch. Well-meaning foreigners so often impose their own feelings of guilt on people who have been wronged.
They now have another resource to vine some of their questions.
Cine-Ethnography by Jean Rouch
Rouch is the recipient of numerous awards, including the Jeean Critics Award at Cannes for the film Chronicle of a Summer in These people were slum dwellers — how could one joke about their conditions? Never had a generation of youth been so rich: They break traditional religious taboos, eating pig, rouchh, in this ceremony, a dog. But the American distributor cut out these segments of the film, and the narration also let it down. Indiana University Press, They situate us in relation to objects, deploying what is suggestive and expressive in the world.
Social and cultural anthropology. This crossing point, the nexus of cinematic and social theory, seems like a gulf to many more at home in their separate terrains. Just a moment while we sign you in to your Goodreads account. The summer of being weighed down by contemporary history, the events in the Congo and the war in Algeria to which young men in the film could be conscripted on the side of the colonistsMorin wanted also to investigate private, subjective life, along with work and social relations.
The Camera and Man Jean Rouch pp. University of Minnesota Press, He too had dreamed of creating a myth, a modern myth that is the world of those avenues.
Ciné-Ethnography — University of Minnesota Press
Views Read Edit View history. Shortly afterwards he returned to France to participate in the Resistance. Yvonne marked it as to-read Jul 09, No trivia or quizzes yet.
But if you already know so many things, why bother me with all these simple questions? Not cognitively, but imaginatively, carnally.
Rouch paints a picture of a kind of exemplary, ethnogarphy, non-alienated labour. The shadow of the holocaust and of Stalinism hang over these who would change the world. Having no idea, the Africans and the others playfully try out ideas — then Marceline, with grace, explains, and the camera pans to a close-up of Landry, lowering his eyes.
Donald Williams marked it as to-read Jan 28, ethnpgraphy The characters are exotic, from another time and place.
At the beginning the Islamic priest persecuted them as heretics. We too know this intensity. Thanks for telling us about the problem.
Yet their influence has been disproportionate to their availability. Solly rated it really liked it Apr 01, What do Landry and Raymond think it is? On the Vicissitudes of the Self: After the war, he did a brief stint as a journalist with Agence France-Presse before returning to Africa where he became an influential anthropologist and sometimes controversial filmmaker.
The Films of Du? He studied civil engineering before turning to film and anthropology in response to his experiences in West Africa during World War II. Rouch spent four months travelling with Sorko fishermen in a traditional pirogue. Only in the 70s and 80s did some of his writings and interviews appear in English. During the s, Rouch began to produce longer ethnographic films.
Ozcose marked it as to-read Jul 05, The contrast rouchh the ephemeral Sunday gaiety and the daily misfortune is so strong that I know it will haunt me until the very moment when I am able to express it.
As his Bell and Howell camera had had to be rewound every twenty-five seconds, no sentences in the narration could be longer than that. These were all advocated in print, with little recognition of the fact that ethnographic film had been achieving these ends for decades. In the four cnie 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.