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  • FID-SKA-Lizenzen  (7)
  • HU-Berlin Edoc
  • 1975-1979  (3)
  • 1970-1974  (4)
  • North America  (7)
  • 1
    Online Resource
    Online Resource
    London :Royal Anthropological Institute,
    Language: English
    Pages: 1 online resource (54 min.). , 005332
    Edition: Electronic reproduction. Alexandria, VA : Alexander Street Press, 2014. (Ethnographic video online, volume 2). Available via World Wide Web.
    Series Statement: Disappearing world
    Series Statement: Ethnographic video online, volume 2
    Keywords: Afghan Wars. ; Ethnology ; Pushtuns History. ; Khyber Pakhtunkhwa (Pakistan) History, Military. ; North America ; Documentary films.
    Abstract: For more than a century Britain was engaged in war with the Pashtun tribesmen of India's North West frontier. It began with the bloodiest massacre in the history of the British Empire when, in January 1842, some 17,000 British soldiers, women and children died in Gandamark, en route to the Khyber Pass. ‘Khyber’ tells the story of how the British experience in the North West Frontier was part of the Great Game, as Rudyard Kipling called it. It was never a successful game and rarely took cognisance of the wishes of the Pashtun tribes that bore the brunt of the different resulting wars. Looking at the history up to the Soviet invasion in 1979, Khyber features the final interview with Sir Olaf Caroe, last governor of the North West Frontier Province before partition, and with Field Marshall Sir Claude Auchinleck, last commander of the British Army in India. The film looks at the different perspectives of the conflicts by both British and Pashtun and provides fascinating parallels to what is happening in Afghanistan today.
    Note: Title from resource description page (viewed Feb. 6, 2014). , Previously released as DVD. , This edition in English.
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  • 2
    Online Resource
    Online Resource
    London :Royal Anthropological Institute,
    Language: Cushitic (Other)
    Pages: 1 online resource (54 min.). , 005352
    Edition: Electronic reproduction. Alexandria, VA : Alexander Street Press, 2014. (Ethnographic video online, volume 2). Available via World Wide Web.
    Series Statement: Disappearing world
    Series Statement: Ethnographic video online, volume 2
    Keywords: Camels. ; Nomads ; Rendille (African people) Social life and customs. ; Ethnology ; North America ; Documentary films.
    Abstract: The Rendille are camel herders who live in villages and camps dotted over 10,000 square miles of desert and scrub bush in Northern Kenya. As the terrain they occupy is so dry, the Rendille grow no crops and their cultural and economic life is centred on their animals. As with other pastoral peoples, the Rendille have to be sensitive to the ever-shifting relationship between humans, animals and 'natural' resources in order to maintain a suitable balance between them. Throughout the year the Rendille have to follow the grazing and rains, dividing their herds between camel camps and semi-permanent village settlements. Long-term planning and decision-making are therefore crucial and this film brings out the manner in which the elders make their decisions. Each man gives his opinion and is listened to attentively until eventually a consensus is reached. The role of the sexual division of labour and the age-set system is explained in commentary, interviews and visual sequences, in a way which allows the viewer insights in the various interacting levels of Rendille social structure. Sequences detailing the ritual activities surrounding the naapo ceremony (which marks a young man's transition to elderhood) are given towards the end of the film, after explanation of the fact that young men have to live in camel camps for about 14 years, while girls look after sheep and goats living in settlements with women and elders. In this way the building of symbolic villages by moran, each man making his own 'home' with stones representative of wife and children before sacrificing a goat, is denied status as exotic spectacle the subtitled comments of the naapo participants convey their feelings of embarrassment and uncertainty about the ritual procedure and allow a visual statement to be made about the relationship of ritual to every-day life. The importance of the purely visual images in conveying a sense of vast desert space, of a daily life filled with the movement and sight of camels, sheep and goats, and of the social effects of village layout, is not to be underestimated. Although this colour film could be criticised for at times beautifying and softening the rough edges of pastoral life, its power as a statement of what it means to exist as a Rendille is very much a property of the camera work. The skilled usage of cinema verite techniques, combined with full subtitling of interviews, gives to this film an integrity and sensitivity which serves to reinforce its concern for the Rendille and its anxiety that for the Kenyan authorities the Rendille are a problem and an embarrassment.
    Note: Title from resource description page (viewed Feb. 6, 2014). , Recorded in Kenya. , Previously released as DVD. , This edition in Rendille and English with English subtitles.
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  • 3
    Online Resource
    Online Resource
    London :Royal Anthropological Institute,
    Language: English
    Pages: 1 online resource (52 min.). , 005215
    Edition: Electronic reproduction. Alexandria, VA : Alexander Street Press, 2014. (Ethnographic video online, volume 2). Available via World Wide Web.
    Series Statement: Disappearing world
    Series Statement: Ethnographic video online, volume 2
    Keywords: Kyrgyz Economic conditions. ; Kyrgyz Social life and customs. ; Kyrgyz ; Afghanistan Social life and customs. ; Kyrgyzstan Social life and customs. ; North America ; Documentary films.
    Abstract: The Kirghiz of Afghanistan are a group of some 2,000 pastoralists living on a bleak mountain plateau in a narrow isthmus of land between the borders of the Soviet Union and China. For nine months of the year heavy snows cover the ground, which was formerly used only by the Kirghiz for their summer pastures before the borders were closed, virtually terminating the contact of this group with other Kirghiz communities. Although the film shows dramatically the ten-day journey which lowland traders must make to reach this remote people, as well as scenes of a Kirghiz wedding and the traditional Central Asian sport of 'buzkashi' ­ demonstrating the horse-riding skills of the people ­ there is very little about the pastoral economy and society of the ordinary Kirghiz. The main reason for this is that the film focuses on the remarkable wealth and authority of their leader ­ the Khan ­ by far the wealthiest pastoralist on the plateau. Ninety-five Kirghiz families work for him as shepherds and herders. The film's principal concern is to show the way in which the Khan wields his power (using interviews with him and illustrative scenes) which thus turns The Kirghiz into a study of oppressive paternalism in this remote corner of the world. There is, however, some disagreement over the interpretation of the Khan's role.
    Note: Title from resource description page (viewed Feb. 6, 2014). , Recorded in Afghanistan. , Previously released as DVD. , This edition in English.
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  • 4
    Online Resource
    Online Resource
    London :Royal Anthropological Institute,
    Language: English
    Pages: 1 online resource (55 min.). , 005443
    Edition: Electronic reproduction. Alexandria, VA : Alexander Street Press, 2014. (Ethnographic video online, volume 2). Available via World Wide Web.
    Series Statement: Disappearing world
    Series Statement: Ethnographic video online, volume 2
    Keywords: Ceremonial exchange ; Ethnology ; Kawelka (Papua New Guinean people) Social life and customs. ; Western Highlands Province (Papua New Guinea) Social life and customs. ; North America ; Documentary films.
    Abstract: Ongka is a charismatic big-man of the Kawelka tribe who live scattered in the Western highlands, north of Mount Hagen, in New Guinea. The film focuses on the motivations and efforts involved in organising a big ceremonial gift-exchange or moka planned to take place sometime in 1974. Ongka has spent nearly five years preparing for this ceremonial exchange, using all his big-man skills of oratory and persuasion in order to try to assemble what he hopes will be a huge gift of 600 pigs, some cows, some cassowaries, a motorcycle, a truck and £5,500 in cash. As an example of the big-man familiar from written texts, Ongka is memorable, and the film manages to convey through this main character the importance of pigs, of exchange and of prestige in the life of these Highlanders. The film-crew never in fact managed to film the big moka, as the conspiratorial and complex manoeuvres involved in setting the date thwarted their plans. But we are shown Ongka replacing tee-shirt and shorts with his ceremonial feathers and setting off to a little moka where he collects pigs he 'invested' with his wife's father. The interview with Ongka's wife raises the issue of the sexual division of labour and the importance of the wife's labour in pig-rearing and moka preparation, as well as the role of women in the establishment of a big-man.
    Note: Title from resource description page (viewed Feb. 6, 2014). , Recorded in Papua New Guinea. , Previously released as DVD. , This edition in English.
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  • 5
    Online Resource
    Online Resource
    London :Royal Anthropological Institute,
    Language: Quechua
    Pages: 1 online resource (53 min.). , 005257
    Edition: Electronic reproduction. Alexandria, VA : Alexander Street Press, 2014. (Ethnographic video online, volume 2). Available via World Wide Web.
    Series Statement: Disappearing world
    Series Statement: Ethnographic video online, volume 2
    Keywords: Quechua Indians ; North America ; Documentary films.
    Abstract: This film is set in a community of peasant agriculturalists 2 1/4 miles above sea level in the southern Peruvian Andes. Concentrating on a single family, the film explores aspects of religious and secular life. The first part of the film shows a pilgrimage to a Christian sanctuary situated close to the residence of the most powerful of the Central Andean mountain spirits (Apus) illustrating the syncretism of Catholic and pre-Hispanic local religious traditions. In the second part of the film we see a fertility rite for sheep, and the attempts of certain members of the community to procure government assistance for a motor road to the village which would link them more closely with the rest of Peruvian society. This film portrays the Quechua of the village of Camahuara as being in a sense sealed off from the rest of the world, but it also shows how their way of life is integrated with the Peruvian economy. It has been criticised for emphasising that the desire for change is coming from inside the traditional society rather than being forced on it from without.
    Note: Title from resource description page (viewed Feb. 6, 2014). , Recorded in Camahuara, Peru. , Previously released as DVD. , This edition in Quechua and English with English subtitles.
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  • 6
    Online Resource
    Online Resource
    London :Royal Anthropological Institute,
    Language: English
    Pages: 1 online resource (54 min.). , 005332
    Edition: Electronic reproduction. Alexandria, VA : Alexander Street Press, 2014. (Ethnographic video online, volume 2). Available via World Wide Web.
    Series Statement: Disappearing world
    Series Statement: Ethnographic video online, volume 2
    Keywords: Hinduism ; Kārttikeya (Hindu deity) ; Kataragama (Sri Lanka) Religious life and customs. ; Sri Lanka Religious life and customs. ; North America ; Documentary films.
    Abstract: In ever-increasing numbers Sinhalese of all religions (Muslims, Christians and Buddhists) are turning to Kataragama, an ancient Hindu God, at times of trouble and desperation. Once a year pilgrims make the journey to Kataragama's shrine in southeast Sri Lanka (Ceylon) to fulfil vows by performing acts of penance and worship in payment for a favour received. Kataragama is called on to help with a wide range of problems (unemployment, sickness, examinations, personal relationships) and is appealed to by people of all social backgrounds, notably the growing middle class and urban dwellers. A good third of the film is concerned with the annual festival, showing the often gruesome and sensational acts which the pilgrims perform including fire-walking, and the piercing of body and tongue with needles – all acts designed to obtain forgiveness and grace. One man is suspended from hooks in his back – a self-torture undertaken with apparent joy by a man who, like many others that perform such acts, feels himself (after a time) to be possessed by the God's spirit. These rather sensational acts are interwoven with the story of a peasant family whose son has disappeared, leading them eventually to seek help from Kataragama. The unfolding of this personal drama (with reconstruction of early episodes, and voice-over to detail their thoughts and feelings) forms the context for the events we see at the festival. The effect of the interweaving of these two 'stories' is to place the otherwise purely exotic spectacle of the pilgrims' acts of penance within a universally understandable social context – that of the despair of a family whose young son is lost. The unplanned return of the boy, apparently in response to the family's appeal to Kataragama, provides a dramatic and moving finale to a film which has been compared in some respects to the great Italian neo-realist films. Clearly this film is an important one both for anthropologists and those concerned with ethnographic film per se.
    Note: Title from resource description page (viewed Feb. 6, 2014). , Recorded in Sri Lanka. , Previously released as DVD. , This edition in English.
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  • 7
    Online Resource
    Online Resource
    London :Royal Anthropological Institute,
    Language: English
    Pages: 1 online resource (40 min.). , 004017
    Edition: Electronic reproduction. Alexandria, VA : Alexander Street Press, 2014. (Ethnographic video online, volume 2). Available via World Wide Web.
    Series Statement: Disappearing world
    Series Statement: Ethnographic video online, volume 2
    Keywords: Indians of South America ; Indians of South America. ; Panare Indians. ; Venezuela. ; North America ; Documentary films.
    Abstract: In common with many other Indian groups in South America, the culture of the Panare Indians of Venezuela is threatened by their almost daily contact with neighbouring creoles, Spanish-speaking peasants. However, in spite of nearly fifty years of interaction, their culture has remained distinctively Indian. The film focuses on activities of their daily life, such as making cassava, preparing blow-darts, hunting and gathering. The Indians strongly resented the presence of the camera-crew; indeed, as Dumont points out early in the film, they were loath to reveal details of their belief-system even to him, although he had been living with them for eighteen months. This was the first and the shortest of the films in the Disappearing World series. Although useful and interesting, it is relatively superficial and its commentary contains some anthropological oddities; it cannot be compared with the much more sophisticated films made later in the series.
    Note: Title from resource description page (viewed Feb. 6, 2014). , Recorded in Venezuela. , Previously released as DVD. , This edition in English.
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