Syllabus
* Course Plan and Suggested Literature 16.10. Visual Anthropology: From Objects to Methods + Screening
MacDougall, D. 1997. The visual in anthropology. In M. Banks & H. Morphy (Eds.), Rethinking Visual Anthropology (pp. 276-295). New Haven & London: Yale University Press.
Rouch, J. 2003. Ciné-Ethnography (edited and translated by Steven Feld). Minneapolis: University of Minnesota Press.
Ruby, J. 2005. The Last 20 Years of Visual Anthropology - A Critical Review. Visual Studies 20(2): 159-170.
Ginsburg, F. 1998. Institutionalizing the Unruly: Charting a Future for Visual Anthropology, Ethnos 63(2): 173-201.
Morton, C. 2009. Fieldwork and the Participant-Photographer: E.E. Evans-Pritchard and the Nuer Rite of gorot. Visual Anthropology 22: 252-274.
Collier, J. & Collier, M. 1990. Visual Anthropology: Photography as a Research Method. Albuquerque: University of New Mexico Press.
Mead, Margaret. 2003 [1975]. ‘Visual Anthropology in a Discipline of Words’, in Paul Hockings (ed.) Principles of Visual Anthropology, p.3-10. Berlin / New York: Mouton de Gruyter (third edition).
Hockings, P. 2012. Visual Anthropology as a Discipline of Words. The Newsletter, 61: 32-33.
Grimshaw, A. 2001. The Ethnographer’s Eye: Ways of Seeing in Modern Anthropology. Cambridge: Cambridge University press. 18.10. Museums and Visual Anthropology + Screening
Kuldova, T. 2014. Fashion Exhibition as a Critique of Contemporary Museum Exhibitions: The Case of ‘Fashion India: Spectacular Capitalism’. Critical Studies in Fashion & Beauty 5(2):313-336.
Bouquet, M. 2012. Museums: A Visual Anthropology. London: Berg.
Corbey, R. 1993. ‘Ethnographic Showcases, 1870-1930’, Cultural Anthropology 8(3):338-369.
Haraway, D. 1984. ‘Teddy Bear Patriarchy: Taxidermy in the Garden of Eden, New York City, 1908-1936’ Social Text, 11: 20-64.
Di Stefano, E (2012) ‘From Shopping Malls to Memory Museums: Reconciling the Recent Past in the Uruguayan Neoliberal State’ Dissidences 4(8): article 8. 20.10. Visual Anthropology of Fashion and Design
Kuldova, T. 2016. Luxury Indian Fashion: A Social Critique. London: Bloomsbury.
Barthes, R. 2013. The Language of Fashion. London: Bloomsbury. 23.10. Photography, Film and Countercultures + Screening
Kuldova, T. 2017 (forthcoming). The Sublime Splendour of Intimidation: On the Outlaw Biker Aesthetics of Power. Visual Anthropology.
Berger, J. 1968.Che Guevara Dead. Aperture 13(4): 36-38.
Barthes, R. 1981. Camera Lucida: Reflections on Photography, transl. R. Howard. Farrar, Straus and Giroux.
Sontag, S. (1973) 2005. On Photography. New York: RosettaBooks. 25.10. 2017 Advertising, Branding and the Anthropologist in the Neoliberal Jungle + Screening
Malefyt, T. & Moeran, B. (eds.) 2003. Advertising Cultures. London: Berg.
Kuldova, T. 2016. Directing Passions in New Delhi’s World of Fashion: On the Power of Ritual and ‘Illusions without Owners’. Thesis Eleven, 133(1):96-113.
Mitchell, W. J. T. 1996. What do Pictures Really Want? October, 77: 71-82. 27.10. Visual Methods in the Field: From Documentation to Representation
Ruby, J. 1991. Speaking For, Speaking About, Speaking With, or Speaking Alongside - An Anthropological and Documentary Dilemma. Visual Anthropology Review 7(2): 50-67.
MacDougall, D. 1978. Ethnographic Film: Failure and Promise. Annual Review of Anthropology, 7: 405-425.
Collier, J. 1957. Photography in Anthropology: A Report on Two Experiments. American Anthropologist, 59: 843-859.
Jacknis, I. 1988. Margaret Mead and Gregory Bateson in Bali: Their Use of Photography and Film. Cultural Anthropology, 3(2): 160-177.
Pink, S. (ed.) 2012. Advances in Visual Methodology. London: SAGE.
Pink, S. 2007. Doing Visual Ethnography: Images, Media and Representaion in Research. London: SAGE.
Annotation
Visual anthropology is one of the fastest growing subfields of anthropology, ranging from the anthropological study of visual culture to the production of anthropological and ethnographic visual products, as such being defined both by its subject and its unique methods. Playing on one hand with the analysis and interpretation of different modes of visual culture, while on the other being an indispensable tool in the field as well as a mode of representation, visual anthropology opens up a vast and often contradictory space of possibilities.
This course is intended as a lecture series consisting of productive provocations, focusing on different modes of analysis, ways of gaining insight and methods that visual anthropology can offer, while utilizing examples from across the history and present of museums, art, fashion, subcultural aesthetics, advertising, film and last but not least, photography. The course will also feature several screenings of selected movies and documentaries followed by a critical discussion in class.