By Scott MacDonald
American Ethnographic movie and private Documentary is a severe historical past of yankee filmmakers the most important to the advance of ethnographic movie and private documentary. The Boston and Cambridge zone is amazing for nurturing those methods to documentary movie through associations reminiscent of the MIT movie part and the movie examine middle, the chippie middle and the visible and Environmental experiences division at Harvard. Scott MacDonald makes use of pragmatism’s concentrate on empirical adventure as a foundation for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. by means of exploring the cinematic, own, relationships among those entire filmmakers, MacDonald exhibits how a pioneering, engaged, and uniquely cosmopolitan method of documentary constructed during the last part century.
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Extra info for American Ethnographic Film and Personal Documentary: The Cambridge Turn
Ai’s nipple (her breasts have just begun to show). ai’s young breasts. kay’s urging her to stay, says, “You’re a silly old man,” and walks off. Marshall’s composition and use of sound function as a kind of cinematic participation in this extended moment of uncle–niece interchange. kay in long shot and alone. Further, as the sexual tension becomes increasingly evident to the viewer (we might imagine that it was increasingly felt by young John Marshall as he was shooting), a repeated bird sound seems to speak the hidden sexual-romantic urge underlying the banter and wrestling.
Courtesy Documentary Educational Resources. the experiences that have brought her, and her neighbors, to their current situation. ai’s memories are interwoven with voice-overs by Marshall, and their dual commentary is illustrated with sequences from earlier Marshall films. ai as a young girl in The Hunters and helping to gather berries in First Film; and Marshall reviews the action in The Hunters as we see moments from that film.
But A Group of Women only seems an ethnographic film if one thinks of it within the metasequence of Marshall’s Ju/’hoansi project. Understood outside of this project, the film represents, on one hand, a young man’s fascination with several young women, with their physicality, their friendship, and the realities of young motherhood. On the other hand, the film demonstrates how intimate Marshall had become with this band of Ju/’hoansi—he seems to hover quite close to the women in order to make the shots he uses (it may also be that the very difference represented by Marshall’s filming makes him, for all practical purposes, invisible to these women).