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TitleCinema a Visual Anthropology
TagsAnthropology Leisure
File Size2.5 MB
Total Pages187
Table of Contents
                            Contents
List of Illustrations
Introduction
1 The history of cinema
2 Film Theory
3 Context of production, distribution, and exhibition
4 Context of reception
Conclusion
Notes
Bilbiography
Index
                        
Document Text Contents
Page 2

CINEMA

Page 94

3 CoNtExt of produCtIoN,
dIstrIbutIoN, ANd ExhIbItIoN

Figure 3.1 Cinema in Marrakesh, Morocco. Photograph by
Mathias Klang 2008.

On December 12, 1995, two days before I received the Samburu entourage at
the airport, I was summoned to a meeting with Michael Douglas at his rented
house near the set. The meeting involved some initial Swahili coaching for Scene
98, as well as a discussion of his artistic vision for the Remington/Maasai arrival
scene [ . . .] Michael wanted to insert a call­and­response sequence, wherein he
would call out something to the hidden warriors who would then doubly shock
the audience with their sudden appearance and an audible response “something

Page 186

i n d e x 167

Ukadike, N. F., 76, 105
Under Capricorn (1947), 61
Underdog (2007), 32
United Artists, 27–8
United Kingdom, see Great Britain
United States

anti­Americanism in Indonesia, 84–5
cinema audiences, 124
communication studies, 79
distribution and exhibition, 97
early cinema, 6
“First Cinema”, 89
French imports, 77
further reading, xviii, 73, 107, 133
government intervention, 23
Hmong diaspora, 131
Marxist film theory, 52–3
McCarthyism, 24
New Hollywood, 26–8
Reagan era ideology, 102, 104
sound, 16
student/labor unrest, 90
telenovelas, 116–17
wartime censorship, 97
see also Hollywood

Universal, 18, 144n8
Use and Gratification Model, 81
Usmar Ismail, 84

Van Cleef, Lee, 26
Van Damme, Jean­Claude, 78
Vertigo (1958), 56, 61, 62
Vertov, Dziga, 36, 42, 45, 47, 93
Vidas secas [Barren Lives] (1963), 90
video films

Hmong diaspora, 131
Nigerian, 65, 68–9, 92, 93, 95, 125, 126–7

Vincendeau, G., 35
violence, 79–80, 81, 111

viral marketing, 32–3
voyeurism, 59, 61, 62

Wall Street (1987), 99, 102
Wanted (2008), 30
Wedlock of the Gods (2007), 69
Week End (1967), 25
Welles, Orson, 40, 47, 48
westerns, 22, 26, 35, 77, 88
Western theory, xi, 72, 105–6
Westlake, M., 62
Wiene, Robert, 11
Wilder, Billy, 39
Willemen, P., 57, 72
Wollen, Peter, 55
women

filmmakers, 145n3
Hitchcock’s films, 62
male gaze, 59
Nigeria, 125–6

Woo, John, 30
working classes

audience studies, 110, 111
British social realism, 25
early cinema, 6
Indian audiences, 124
Indonesia, 97
Italian neo­realism, 46
Marxism, 50

Xala (1974), 94–5, 105

Yellow Earth (1984), 30, 105–6
Yojimbo (1961), 22, 26
Young Mr. Lincoln (1939), 52–3
YouTube, 98

Zavattini, Cesare, 46
Zhang, Yimou, 30

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