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• W251052034 abstract "Banks, Marcus, and Howard Morphy, eds. Rethinking Visual Anthropology. New Haven: Yale UP, 1997, 310 pp., $35.00 (cloth). Principles of Visual Anthropology was published in 1975; now, 23 years later, we have Rethinking Visual Anthropology. Both are multiauthor works. The years separating Principles of Visual Anthropology and Rethinking Visual Anthropology are too few to claim generational change. Yet enough time has passed to warrant a fresh look at the subject. The books certainly differ in vocabulary. Key words in the new book include the Other (now capitalized), gaze, hegemonic, problematize, essentialist, ambiguation, contextualization, renegotiation, demonization, inscription, unmediated, contested, decentered, privileged, overdetermined, materiality, textuality, recontextualizing, repositioning, commoditizing, and, of course, deconstructing. Few of these words appear in Principles. The books also differ in content. Most of Principles is devoted to the analysis, criticism, history, and technical aspects of ethnographic film. By contrast, only one-third of the chapters in Rethinking Visual Anthropology deals with these topics. The remaining chapters cover traditional visualizations produced in and by people in other cultures. This is only proper; through their selection of authors, the editors of Rethinking fulfill their intent to present a more balanced view of the field. The most frequently cited article in Principles was by Margaret Mead. In it, Mead argues that anthropology-in her words, a discipline of words-has barely taken advantage of the camera. What would have happened, asks Mead, if astronomers and biologists had followed the same route and favored words over, respectively, the telescope and the microscope? That anthropology is a discipline of words, even more so now than in the past, becomes clear in the course of reading Rethinking Visual Anthropology. I am also troubled that some topics and issues are not dealt with at all, and I will mention these omissions in closing. But first, drawing particularly on those articles that address the moving image, I will highlight a few themes that link several of the chapters in the book. Returning to Mead, we recall that she regarded the camera as a seeing and recording instrument in the service of social science. Further, for her, the camera was to words something like what the piano is to the main attraction of the lieder sung at center stage, that is, merely an accompaniment. Her films, made with Gregory Bateson, pioneering and historically important as they are, effectively set in concrete narrations by voices of gods and the didactic approach so common and so highly regarded by so many anthropologists in so many ethnographic films for so long. In the concluding chapter of Rethinking Visual Anthropology, David MacDougall quotes at length from a published exchange between Bateson and Mead in which they debate the presumed science/art divide. At one point, Bateson tells Mead that art, for her, is a term of abuse. an accusation Mead denies. Elsewhere in the exchange, in a portion not discussed by MacDougall, Basil Wright's Song of Ceylon is introduced, only to be dismissed. Sometime I must retrace and count the number of times I have read anthropological writings on film in which Song of Ceylon is introduced and then quickly followed by Yes, but.... Invariably, what this means, in capsule form, is is a remarkable film, but it is art, not science, so let's move on. It is a pleasure, and surely evidence of a change and an advancement, to find the writers in Rethinking uniformly moving away from evaluating films from the perspective of the science/art opposition. All fields harbor intractable problems. In some, the problems are well defined and interest in the field is driven by enthusiastic recruits searching for partial solutions. In visual anthropology, the fundamental problem-namely, representation-has been, with some exceptions, unrecognized and unnamed. …" @default.
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