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Worlding beyond worlds
Douglas L., Feser A.
Q2
Unruly subjects: The subaltern struggle for media justice, multimodality, and autoethnography in academia and beyond
Osman W.
Q2
AbstractIn this autoethnographic article, I explore the “crisis of representation” and the struggle of subaltern people for reparative representation and media justice. I argue that the field of visual anthropology and its multimodal programs have emerged from the margins to be at the forefront of decolonizing media and representation in the academy and beyond, but more work still needs to be done to achieve parity. I highlight the work and programs of leading scholar‐practitioners and their methodological and theoretical approaches that have shifted the paradigm of modern anthropology and representational politics and practice more generally. I focus on the trajectory of Faye Ginsburg's scholarship and media activism working with Indigenous, disability, and reproductive justice movements and show its impact on my work in the media worlds of the United States and Afghanistan and on Middle Eastern and Asian contexts and studies more broadly.
Visualizing erasure: Co‐creating comics and animation from revolutionary street art to Nubian memories of displacement in Egypt
Hamdy S., Moll Y.
Q2
AbstractThis article discusses how Faye Ginsburg's work on Indigenous filmmaking and commitment to shared anthropology inspired us to pursue unconventional forms of visual anthropology adapted to our own ethnographic contexts in post‐revolutionary Egypt. Specifically, we discuss Hamdy's work on the collaborative graphic novel Lissa and Moll's collaborative animation short Hanina. The affordances of these illustrated genres and mediums for collaborative co‐creation with our interlocutors enabled better ways to depict that which is no longer tangibly present yet persists in memories and longings. The specific histories of each media resonated with how the communities sought to represent themselves, a powerful example of what Ginsburg calls “aesthetic accountability.” We also reflect on how comics and animation, through greater anonymity, can help us attain safety as a production value under authoritarianism.
Exploring the imperative of “relational documentary”: Process, power, and unruly collaboration in media production on Palestine
Bishara A.
Q2
AbstractBecoming an anthropologist of Palestine during the War on Terror meant that the specter of violence and exclusion always loomed over my research; yet I had become an anthropologist out of a commitment to presence in and engagement with people from the Middle East. I investigate the ways in which Faye Ginsburg's approach to studying polarizing issues, her analysis of Indigenous media, and her commitment to ethical collaboration has shaped my written and video work. In the first part of the paper, I discuss how reflexivity and positionality propelled me forward in an ethnographic study of journalistic production. In the second half, I reflect on collaborative film projects that illuminated themes of risk and positionality that are at the heart of politics and media production in Palestine. The model of “relational documentary” analyzed by Ginsburg that considers ethics and politics both on and off screen informs my approach to the obligations of long‐running partnerships. Just as much, Ginsburg's commitment to play and creativity allowed me to imagine unexpected explorations of mobility, voice, and place to ask what we can do, working across lines of difference, to be able to hear each other and make space for each other to be heard.
Shared anthropology of the Middle East: Essays on media in honor of Faye Ginsburg
Hamdy S., Bishara A.
Q2
AbstractThe articles in this special issue are the outcome of the panel: “Papers in Honor of Faye Ginsburg: Visual and Media Anthropology in the Middle East,” which was held virtually for the American Anthropological Association Annual Meetings of November 2021. The reach of Ginsburg's work as well as her mentorship through the creation of NYU's Graduate Program in Culture & Media has shaped the ethnography of media and visual anthropology across a diversity of geographic regions. In this particular issue, we bring together scholars of SWANA (Southwest Asia and North Africa, a term that more broadly encompasses what is often referred to as the Middle East) whose projects are deeply influenced by Ginsburg's scholarship on shared anthropology, collaborative media practices and cultural activism. This introduction includes excerpts from a conversation with Ginsburg.
Real cameras, irreal things: Image‐making and ethnographic insight
Georgiev K.
Q2
AbstractThis article explores the effects of image‐making on ethnographic insight. The topic is approached within the epistemological framework of recent revisions of anthropology's reflexive turn. Empirical observation, photographic experiments, and the work of anthropologists, historians, and philosophers are employed to argue that photography—and, especially, experimental techniques—brings together different modes of knowledge and make communicable an array of irreal things. By working with data gathered serendipitously outside of the author's ethnographic project, the arguments of this article extend further and recover older theoretical assertions that ethnographic knowledge production involves the whole self.
Becoming cultural and disability activists who challenge dominant narratives: The parallax effect of survivors of chemical warfare in Iran
Bajoghli N.
Q2
AbstractThis article discusses how Faye Ginsburg's work on ethnographic filmmaking, cultural activism, disability studies, and the parallax effect inspired me to collaborate over two decades with survivors of chemical warfare in Iran and Iraq. In order to continue to advocate for their needs for subsidized medical treatment, survivors of chemical weapons in Iran took up disability rights and carved out an important spaces as cultural activists to advocate for peace over war. Their creation of the Tehran Peace Museum and the many attendant media products it has produced, serve as an important parallax effect that has been instrumental in making critical dents into the extremely well‐funded state produced media about the war in Iran.
“They don't care what we watch”: On ratings and culture‐making in the dizi industry
Sertbulut Z.
Q2
AbstractThis article challenges Western‐centric assumptions in existing media theories that assume a relatively democratic society by exploring the media worlds of dizis, Turkey's globally famous, serialized television melodramas. It examines dizi makers' frustrations with a recently revised rating system at a time when Turkey's conservative and authoritarian‐leaning ruling AKP elite increasingly intervene in the country's cultural field. The article argues that in Turkey's highly polarized, authoritarian context, ratings become a crucial site of culture‐making, through which Turkish culture, the value of cultural products like dizis, and the place of their creators in Turkey's cultural hegemony get renegotiated. Exploring the resentments of today's dizi makers reveals that contemporary Turkish power contestations cannot be reduced to either the secular/religious binary or to class dynamics alone, as often deployed to explain the current polarization between Erdoğan's supporters and his dissidents. The article also demonstrates the need for more rigorous theorizing about how states—as repressive actors in authoritarian contexts—affect the worlds of media creators and their works.
Placemaking in the nuclear sensorium
Lusztig I., Cram S.
Q2
AbstractThis dialogue considers Irene Lusztig's 2023 film Richland, a place‐based documentary about a nuclear company town in southeastern Washington State. Built by the US government as part of the Manhattan Project, Richland fueled thousands of weapons in the nation's nuclear arsenal, including the bomb dropped on Nagasaki, Japan. Lusztig speaks with interdisciplinary scholar Shannon Cram about how this community inhabits the complex and contradictory relations of atomic violence and nuclear pride. So too, they discuss Lusztig's listening‐centered documentary method with a specific focus on what it means to facilitate listening across political and ideological difference.
Sama in the Forest
Gamburd M.R.
Q2
La Cité: Une Anthropologie Photographique
Beccaro‐Lannes C.
Q2
“Come to life” realism: View‐Master reels and the legacy of stereoscopic imperialism
Guedes G.
Q2
AbstractI argue that View‐Master reels upheld the colonial legacy of previous stereoscopic depictions of Indigenous subjects while inaugurating new methods of asserting power in exhibition via its ease of use and “black‐box” structure. Further, focusing on the instrumentalization of stereoscopy allows us to think through how these images intervene in the history of the representation of Indigenous subjects across image media and histories of photographic technology and consumption. In sum, although stereoscopy functions as a marketable tool for narrativizing colonial power, its affective qualities and historical contexts complicate fantasies of unilateral viewing and domination and bring forth histories of resistance.
Expanded Visions: A New Anthropology of the Moving Image
Bravo A.I.
Q2
4th World Media Lab
Hurtubise M.Y.
Q2
Visualizing citizenship in a bureaucratic frame
Raheja N.
Q2
Collaborations across Cinematic Objects
Browne C., Allan D., Kröger M., Scheffner P., Mader V., Biet M., Frisorger T., Polze A., Schade J.
Q2
A Chronology of Seeing
Abazeri M.
Q2
Machines in Flames (2022)
Baveye M.
Q2
Fragments of Memory
Strassler K.
Q2
