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.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
Rouch的影像人類學理想，一種雜糅Flaherty和Vertov的shared anthropology（cine-ear-eye，突然想到Bruno的emotion-transportation）。當他說“who and why produced？”應該是after the screening of an ethnographic film首先該問的問題並給齣答案時我一個爆哭：my first response, for myself. My second response, film is the only method I have to show another just how I saw him. My third response, for all audiences.”
评分Rouch的影像人類學理想，一種雜糅Flaherty和Vertov的shared anthropology（cine-ear-eye，突然想到Bruno的emotion-transportation）。當他說“who and why produced？”應該是after the screening of an ethnographic film首先該問的問題並給齣答案時我一個爆哭：my first response, for myself. My second response, film is the only method I have to show another just how I saw him. My third response, for all audiences.”
评分Rouch的影像人類學理想，一種雜糅Flaherty和Vertov的shared anthropology（cine-ear-eye，突然想到Bruno的emotion-transportation）。當他說“who and why produced？”應該是after the screening of an ethnographic film首先該問的問題並給齣答案時我一個爆哭：my first response, for myself. My second response, film is the only method I have to show another just how I saw him. My third response, for all audiences.”
评分Rouch的影像人類學理想，一種雜糅Flaherty和Vertov的shared anthropology（cine-ear-eye，突然想到Bruno的emotion-transportation）。當他說“who and why produced？”應該是after the screening of an ethnographic film首先該問的問題並給齣答案時我一個爆哭：my first response, for myself. My second response, film is the only method I have to show another just how I saw him. My third response, for all audiences.”
评分Rouch的影像人類學理想，一種雜糅Flaherty和Vertov的shared anthropology（cine-ear-eye，突然想到Bruno的emotion-transportation）。當他說“who and why produced？”應該是after the screening of an ethnographic film首先該問的問題並給齣答案時我一個爆哭：my first response, for myself. My second response, film is the only method I have to show another just how I saw him. My third response, for all audiences.”
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