The work of Margaret Mead (b. 1901–d. 1978) and Gregory Bateson (b. 1904–d. 1980) has proven to be critical in forming the subdiscipline of visual anthropology. In 1933 Mead met Bateson on the Sepik River, while both were engaged in ethnographic fieldwork in Papua New Guinea. Soon a couple (they married in 1936), they decided to travel to Bali with the explicit intention of pioneering the use of still photography and film as a basic ethnographic methodology. Before their collaboration Mead had studied with Franz Boas at Columbia University (PhD in 1929), and Bateson was a student of Alfred C. Haddon at Cambridge (MA in 1930). During their lives, neither held a tenured regular academic appointment, although both were active teachers and mentors. In their early and middle years, both worked in the field that came to be known as “culture and personality.” The couple worked together in Bali between January 1936 and March 1938. Following a comparative period of fieldwork among the Iatmul of New Guinea (April 1938–February 1939), they returned to Bali (February–March 1939), before returning to America. From their shared Balinese fieldwork they created a corpus of about 25,000 still photographs and 22,600 feet of 16 mm. film footage—and from the Iatmul of New Guinea, another 11,000 feet of film, and another 8,000 still photographs. From these materials, they produced two photographic ethnographies and seven edited films. These were perhaps the first cultural representations to use images, coupled with texts, as the primary vehicles for making ethnographic arguments and analyses. Although this transformed both visual anthropology and the discipline at large, it took many decades for their achievement to be recognized. Bateson and Mead, each in their own way, continued to advocate for the importance of visual representations in anthropology and related disciplines. After their divorce in 1950, Bateson continued his peripatetic professional career, often working collaboratively. His later work in psychiatry and the behavior of animals (otters, dolphins, and octopuses) found a place for visual documentation of non-verbal forms of communication. Except for her first fieldwork, in Samoa (1925), Mead never took her own photographs, instead collaborating with her ethnographic partners, especially two of her husbands, Reo Fortune and Gregory Bateson. More so than Bateson, in later life Mead was active in helping create the institutions of visual anthropology, through archives, conferences, publications, and teaching. Bateson and Mead’s visual anthropology has been influential throughout the scholarly world, but given the relatively large literature on the couple, this bibliography has been confined to works published in English.
Images of Aging: Cultural Representations of Later Life (Book).