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  • 1
    AV-Medium
    AV-Medium
    Fredrik Barth - From Fieldwork to Theory (2001)
    IWF (Göttingen)
    In:  (Jan. 2001)
    Details
    Language: Undetermined , Undetermined
    Pages: 693MB, 00:56:12:21 (unknown)
    Angaben zur Quelle: (Jan. 2001)
    Keywords: Feldforschung ; Iran ; ethnographischer Film / Geschichte ; Bhutan ; Kulturwissenschaften ; Papua-Neuguinea ; portrait ; history of anthropology ; Asia ; Afrika ; Pakistan ; Barth, Fredrik ; Persönlichkeitsaufnahme ; Porträt ; Kulturgeschichte ; Asien ; Pakistan ; Identität ; Wikan, Unni ; Sudan ; ethnographic film / history ; history ; Interviews ; Papua New Guinea ; Wikan, Unni ; Bali ; Barth, Fredrik ; cultural studies ; Iran ; Ethnologie/Kulturanthropologie ; Australien/Ozeanien ; Bhutan ; Irian Jaya (Indonesien) ; Irian Jaya (Indonesia) ; cultural history ; Africa ; Indonesien ; field work ; Geschichte ; interviews ; Indonesia ; Australia/Oceania ; identity ; Sudan ; ethnology/cultural anthropology ; Bali
    Abstract: Der Film porträtiert den norwegischen Ethnologen Fredrik Barth, der an den Universitäten Bergen und Oslo gelehrt hat. Seine Feldforschungen im Sudan, Iran, Oman, Pakistan, Neuguinea, Bali und Bhutan werden thematisiert.
    Abstract: The film, being part of the continued effort of IWF to contribute video productions to the history of anthropology like the preceding film on Sir Raymond Firth, is a portrait of the Norwegian anthropologist Fredrik Barth, one of the most important contemporary representatives of his discipline whose reputation both as a fieldworker and a theoretician has been renowned for more than four decades. Barth carried out fieldwork in the Sudan, in Iran, Oman, Pakistan, New Guinea, Bali and Bhutan. In the film, he talks, at times together with his wife Unni Wikan, to Peter Loizos and also to Lone Abenth-Sperschneider on his personal life and academic career, the importance of his fieldwork for his theoretical findings, the development of Norwegian anthropology, his cooperation with Unni Wikan and many other topics of interest for anthropologists. Impressions from teaching students in Bergen and lecturing at the Museum of Ethnography in Oslo, as well as glimpses of his personal environment in Oslo round off the film to a vivid portrait of a remarkable anthropologist.
    Note: Audiovisuelles Material
    DOI: 10.3203/IWF/C-7042
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    IWF
  • 2
    AV-Medium
    AV-Medium
    Grønland på film gennem 100 år (Dänische Originalfassung) (1998)
    IWF (Göttingen)
    In:  (Jan. 1998)
    Details
    Language: Undetermined , Undetermined
    Pages: 2782MB, 01:01:32:05 (unknown)
    Angaben zur Quelle: (Jan. 1998)
    Keywords: material culture ; America ; film analysis ; Grönland (Dänemark) ; Wirtschaft (Ethnologie) ; Haustiere ; Nord- und Mittelamerika ; self-image - foreign-image ; transportation devices ; Gesellschaft ; Inuit ; Tierhaltung ; productive livestock ; filmische Repräsentation ; kayak ; transportation ; domestic animals ; cultural studies ; materielle Kultur ; Ethnologie/Kulturanthropologie ; Akkulturation ; Greenland (Denmark) ; Kolonialgeschichte / Grönland ; fauna ; ethnology/cultural anthropology ; filmic representation ; animal husbandry ; Selbstbild - Fremdbild ; Rasmussen, Knud ; Nutztiere ; Inuit ; Tierwelt ; Kulturwissenschaften ; Transport ; Transportgeräte ; Filmgeschichte ; Kulturgeschichte ; Filmanalyse ; Hundeschlitten ; economy ; Eskimo ; history ; Amerika ; acculturation ; Eskimo ; Rasmussen, Knud ; society ; Kajak ; film history ; dog sleds ; colonial history / Greenland ; cultural history ; Geschichte ; North and Middle America
    Abstract: Die Inuit von Grönland waren schon früh Gegenstand filmischer Repräsentation. Die ersten Filmaufnahmen entstanden 1896 im Volkspark von Kopenhagen. Seither spielen die Inuit in Dokumentar- wie auch in Spielfilmen, in Expeditions- und Reiseberichten wie auch in wissenschaftlichen Dokumentationen eine bedeutende Rolle. "100 Jahre Grönland im Film" zeigt Ausschnitte verschiedener Filmdokumente, analysiert sie kritisch besonders unter dem Aspekt der Repräsentation des Fremden und des Eigenen im Film. Dabei findet neben den filmgestalterischen Elementen besonders der sozioökonomische Kontext Berücksichtigung.
    Abstract: Greenland's Inuit were the object of cinematographic representation even in the early days of cinematography. The first film sequences were made in 1896 in the "Volkspark" in Copenhagen. Since then the Inuit have played a major role in documentaries, feature films, expeditions and travelogues as well as in scientific documentations. "100 Years of Greenland in Film" shows sequences of various cinematographic documents, analyses them particularly critically with regard to the aspect of the representation of the foreign culture and one's own culture in film. In the process, in addition to the cinematographic design elements, the socio-economic context is considered.
    Note: Audiovisuelles Material
    DOI: 10.3203/IWF/D-2012dan
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  • 3
    Online Resource
    Online Resource
    Ende der traurigen Zone (1990)
    IWF (Göttingen)
    In:  Student Films (Jan. 1990)
    Details
    Language: Undetermined , Undetermined
    Titel der Quelle: Student Films
    Angaben zur Quelle: (Jan. 1990)
    Keywords: Grenze, innerdeutsche ; Zeitgeschichte ; Hessen ; Europa ; borderland ; Deutschland ; student film ; Kulturwissenschaften ; Ethnologie/Kulturanthropologie ; DDR ; German reunification ; Geschichte ; Studentenfilm ; Grenzgebiet ; Wiedervereinigung, deutsche ; 1946 - Gegenwart ; GDR ; Thüringen
    Abstract: Der Film dokumentiert die Ereignisse zur Zeit der Währungsumstellung in der DDR Mitte 1990 in Großburschla, einem Ort in der Provinz an der Grenze zwischen Thüringen und Hessen. In zahlreichen Gesprächen werden die politischen Einschätzungen, die vielfältigen Erwartungen und Hoffnungen, die sich an die Einführung der D-Mark knüpfen, sowie die bisherigen Erfahrungen der Großburschlaer mit dem Zusammenwachsen von BRD und DDR deutlich.
    Abstract: Until November 1989, Grossburschla stood on the frontier between East and West Germany. Whilst television screens all over the world were filled with scenes of the Berlin Wall tumbling down, similarly momentous changes were also quietly taking place in the countryside.
    Note: Audiovisuelles Material
    DOI: 10.3203/IWF/W-2212
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