ISBN:
9783319599847
Language:
English
Pages:
1 Online-Ressource (325 pages)
Series Statement:
Culture, Mind, and Society
Series Statement:
Culture, Mind, and Society Ser
Parallel Title:
Print version Lemelson, Robert Afflictions : Steps Toward a Visual Psychological Anthropology
DDC:
150
Keywords:
Visual anthropology--Methodology
;
Visual anthropology ; Methodology
;
Electronic books
Abstract:
Dedication -- Preface -- Note -- Series Preface -- Acknowledgments -- Contents -- List of Abbreviations -- List of Figures -- Part I: Steps Towards a Visual Psychological Anthropology -- Chapter 1: Visual Psychological Anthropology: A Vignette and Prospectus -- 1.1 The Multiple Afflictions of Gusti Ayu, ``The Bird Dancer´´ -- 1.2 Ethnographic Film and Psychological Anthropology: Points of Connection and Disjuncture -- 1.3 Visual Psychological Anthropology and Ethnography -- 1.4 Making Films About Culture and Mental Illness: From Symptomatology Toward Lived Human Experience -- 1.4.1 Afflictions: A Person-Centered, Emotionally Focused, and Domain-Specific Film Series -- 1.5 Organization of the Book -- Notes -- References -- Chapter 2: Perspectives on Integrating Ethnographic Film into Psychological Anthropology -- 2.1 Historical Precedents and Prospects for a Visual Psychological Anthropology: A Review of Relevant Filmography -- 2.2 Psychological Anthropology´s Move Toward Subjectivity -- 2.3 Issues Confronting a Visual Psychological Anthropology -- Note -- References -- Chapter 3: The Lived Experience of Culture and Mental Illness in Indonesia -- 3.1 Ethnography and Mental Illness: A Brief Review -- 3.2 Mental Illness in Indonesia, Java, and Bali -- 3.3 Sociocultural Aspects of Recovery in Java and Bali -- 3.4 History of Mental Health Care in Bali and Java -- 3.5 The Afflictions Series -- 3.6 Themes Across Films -- Notes -- References -- Part II: Afflictions: Culture and Mental Illness in Indonesia -- Chapter 4: The Bird Dancer: Social Rejection and Social Suffering -- 4.1 Story Summary -- 4.2 An Etic Explanation: Tourette Syndrome -- 4.3 Traditional Healing, Explanatory Models, and Therapeutics for Neuropsychiatric Disorders in Bali -- 4.4 Questions of Gender, Caste, and Kinship
Abstract:
4.5 The Complexities of Psychiatric Treatment and the Value of Empathy -- 4.6 Last Encounters -- Note -- References -- Chapter 5: Shadows and Illuminations: Interpreting and Framing Extraordinary Experience -- 5.1 Story Summary -- 5.2 Multiple Ways to Frame and Interpret Psychotic Experience -- 5.3 Trauma, History, and Subjectivity in Shadows and Illuminations -- 5.4 Last Encounters -- Note -- References -- Chapter 6: Family Victim: Encountering Deviance and Representing Intersubjectivity -- 6.1 Story Summary -- 6.2 Deviance, Social Control, and Intersubjective Experience -- 6.3 The Intersubjective Reality of the Ethnographic Film -- 6.4 Last Encounters -- References -- Chapter 7: Memory of My Face: Globalization, Madness, and Identity On-screen -- 7.1 Story Summary -- 7.2 Post-coloniality, Globalization, and the Subjective Experience of Mental Illness -- 7.3 From Strangeness to Empathy -- 7.4 Last Encounters -- References -- Chapter 8: Ritual Burdens: Culturally Defined Stressors and Developmental Progressions -- 8.1 Story Summary -- 8.2 The Beauty and Burden of Balinese Ritual in Ni Ketut Kasih´s Cycles of Illness -- 8.3 Chronologies of Trauma, Culturally Inflected Emotions, and Social Support -- 8.4 Seeing Beyond a Sparkling Face -- 8.5 Last Encounters -- References -- Chapter 9: Kites and Monsters: Continuity in Cultural Practices -- 9.1 Story Summary -- 9.2 Normalizing Unusual Movements -- 9.3 Longitudinal Fieldwork and a Child´s Growth -- 9.4 Last Encounters -- 9.5 The ``Outcome Paradox´´ Revisited -- References -- Part III: The Practice of Visual Psychological Anthropology -- Chapter 10: The Process of Visual Psychological Anthropology -- 10.1 Theory and Practice in the Making of the Afflictions Series: Outline of Part 3 -- 10.2 Pre-production: Theoretical Positions and Practical Realities -- 10.2.1 The Practicalities of Planning a Shoot
Abstract:
10.2.1.1 Equipment Choices -- 10.2.1.2 Managing Footage -- 10.3 Production: Multiple Issues and Solutions -- 10.3.1 Gaining Multiple Visual Perspectives Through a Range of Shots -- 10.3.2 Creative Re-enactments -- 10.3.3 Technical Aspects of Shooting Interviews -- 10.3.4 Interviewing Considerations -- 10.3.5 Theorizing, Evoking, and Capturing Emotional Material -- 10.3.5.1 Afflictions Example: Participant Subjectivity and the Evocation of Emotional Narratives -- 10.3.6 Longitudinality and Afflictions Filming -- 10.3.6.1 Afflictions Example: Visual Strategies in Longitudinal Filming -- 10.4 Post-production: A Stylistic Approach to Editing and Storytelling -- 10.4.1 Some Practical Post-production Steps -- 10.4.2 Editing: Thinking Ahead About Editing and Production Values -- 10.4.3 Narration and Narrative Voices -- 10.4.3.1 Afflictions Example: The Narrative Development of The Bird Dancer -- 10.4.4 Utilizing Diverse Stylistic Devices to Evoke Internal and Cultural Worlds -- 10.4.4.1 Afflictions Examples: Using Distinct Visual Styles to Reflect Individual Subjectivity -- 10.4.5 The Contested Use of Sound and Music in Ethnographic Films -- 10.4.5.1 Afflictions Example: Using Soundtracks and Original Scores to Convey Biographical, Emotional, and Cultural Information -- 10.4.6 Using Audience and Film Subject Feedback to Inform Film´s Final Version -- 10.4.7 Filming, Editing, Writing: Ongoing and Interactive Methods of Analysis -- Notes -- References -- Chapter 11: Collaboration, Intervention, Compensation, and Ethics -- 11.1 History of Collaboration in Ethnographic Film: Precedents and Models -- 11.2 The Importance of Local Collaborators -- 11.3 Intervention and Compensation -- 11.4 Afflictions Example: The Complexities of Payment and Intervention in the Making of The Bird Dancer -- 11.5 Anthropological Ethics and the Afflictions Project
Abstract:
11.5.1 ``Do No Harm´´: Trauma and Visual Psychological Anthropology -- 11.5.2 Afflictions Example: 1965 and the Risks of Disclosure in ``Shadows and Illuminations´´ -- 11.5.3 ``Obtaining Informed Consent´´: The Complexity of True Consent -- 11.5.4 Afflictions Example: Negotiation and the Informed Consent Process in Family Victim -- 11.5.4.1 Informed Consent: Some Final Thoughts -- 11.5.5 ``Making Your Results Accessible´´ in Visual Psychological Anthropology -- 11.5.6 ``Protect and Preserve Your Records´´: Considerations for Better Practice -- 11.6 Conclusion: Ethics Discussions Need to Be Continuously Addressed -- Notes -- References -- Chapter 12: Visual Psychological Anthropology: Implications for Teaching and the Future -- 12.1 The Use of Film in Psychological Anthropology Pedagogy -- 12.2 Teaching Visual Psychological Anthropology Films: Some Examples and Caveats -- 12.3 Public Presentation and Visual Psychological Anthropology -- 12.4 Challenging Anthropology´s Focus as ``a Discipline of Words´´: What the Future Portends? -- Note -- References -- Appendix -- Index
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