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This edition contains 27 articles, written by scholars and film makers who are generally acknowledged as the international authorities in the filed. The book covers ethnographic filming and its relations to the cinema and television; applications of filming to anthropological research, the uses of still photography, archives, and videotape; subdisciplinary applications in ethnography, archeology, bio-anthropology, museology and ethnohistory; and overcoming the funding problems of film production.
From an eminent author in the field, The Future of Visual Anthropology develops a new approach to visual anthropology and presents a groundbreaking examination of developments within the field and the way forward for the subdiscipline in the twenty-first century. The explosion of visual media in recent years has generated a wide range of visual and digital technologies which have transformed visual research and analysis. The result is an exciting new interdisciplinary approach of great potential influence for the future of social/cultural anthropology. Sarah Pink argues that this potential can be harnessed by engaging visual anthropology with its wider contexts, including: the increasing use of visual research methods across the social sciences and humanities the growth in popularity of the visual as methodology and object of analysis within mainstream anthropology and applied anthropology the growing interest in 'anthropology of the senses' and media anthropology the development of new visual technologies that allow anthropologists to work in new ways. This book has immense interdisciplinary potential, and is essential reading for students, researchers and practitioners of visual anthropology, media anthropology, visual cultural studies, media studies and sociology.
The Handbook of Methods in Cultural Anthropology, now in its second edition, maintains a strong benchmark for understanding the scope of contemporary anthropological field methods. Avoiding divisive debates over science and humanism, the contributors draw upon both traditions to explore fieldwork in practice. The second edition also reflects major developments of the past decade, including: the rising prominence of mixed methods, the emergence of new technologies, and evolving views on ethnographic writing. Spanning the chain of research, from designing a project through methods of data collection and interpretive analysis, the Handbook features new chapters on ethnography of online communities, social survey research, and network and geospatial analysis. Considered discussion of ethics, epistemology, and the presentation of research results to diverse audiences round out the volume. The result is an essential guide for all scholars, professionals, and advanced students who employ fieldwork.
In ten chapters, MacDougall explores the relations between photographic images and the human body-the body of the viewer and the body behind the camera as well as the body as seen in ethnography, cinema, and photography. In a landmark piece, he discusses the need for a new field of social aesthetics, further elaborated in his reflections on filming at an elite boys' school in northern India. The theme of the school is taken up as well in his discussion of fiction and nonfiction films of childhood. The book's final section presents a radical view of the history of visual anthropology as a maverick anthropological practice that was always at odds with the anthropology of words. In place of the conventional wisdom, he proposes a new set of principles for visual anthropology.
First published in 1967,Visual Anthropologyhas become a classic in its field, invaluable not only for anthropologists but for anyone using photography, film, and video to understand human behavior and culture. This completely revised and expanded edition brings the technical information up to date and includes the insights the Colliers have gained from nearly thirty-five additional years of collective teaching and research experience since the first edition.

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