Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic

2019 ◽  
pp. 70-88 ◽  
Author(s):  
Cathy Greenhalgh
Keyword(s):  
Material Culture ◽  
Documentary Film ◽  
Point Of View ◽  
Film Production ◽  
World Cinema

Cathy Greenhalgh considers the making of her essay film Cottonopolis(90’, 2020). The film combines memories of three different yet interconnected ‘Manchesters’, that is historical mega-textile cities Manchester (England), Ahmedabad (Gujarat, India) and Łódź (Poland), with observations of contemporary handloom and power loom cotton manufacture. In her anticipated film Greenhalgh employs documentary techniques, reflexive essay and meditation, sensory and material culture ethnography, as well as oral historiography and experimental visual immersion. She sets out to discuss film production concerns related to questions of the cinematographic, ethnographic and essayistic. Her analysis is underpinned by a practice point-of-view, conversations with Indian film colleagues and various theories of essay, ethnographic and documentary film practice, eco-criticism, world cinema and diaspora aesthetics.

Before Six Years After. Notes on the re-emergence of a film archive in Guinea-Bissau

2014 ◽  
Author(s):  
Tobias Hering
Keyword(s):  
Documentary Film ◽  
Film Production ◽  
Final Phase ◽  
Guinea Bissau ◽  
Ongoing Project

In 2011, the artist Filipa César was given access to the archive of the Instituto Nacional de Cinema e Audiovisual (INCA) in Bissau, which holds the remains of a precarious but dedicated documentary film production during the final phase of the liberation war and the first years of independence in Guinea-Bissau (roughly from 1972 to 1980). Together with two of the film-makers involved, Flora Gomes and Sana na N'Hada, and a group of researchers and film-makers from Bissau, Filipa César is since then engaged in an ongoing project experimenting with various forms of re-visualization and re-evaluation of this archive. Tobias Hering has participated in this process on several occasions and wrote about it in the essay "Before six years after," published for Filipa César's exhibition at Jeu de Paume (Paris) in October 2012. The text published here is a critically revised and annotated version of this earlier essay.

scholarly journals The state of Early Linear Pottery Culture research in Slovakia

2019 ◽  
Vol 46 ◽  
pp. 184-202
Author(s):  
Noémi Beljak Pažinová ◽  
Tatiana Daráková
Keyword(s):  
Material Culture ◽  
The State ◽  
Point Of View ◽  
Chipped Stone ◽  
Neolithic Culture ◽  
Current State ◽  
Animal Bones ◽  
State Of Research ◽  
Stone Industry

The article focuses on the current state of research of the first Neolithic culture in Slovakia.So far around 70 sites are known from Slovakia dated to the Early Linear Pottery Culture and the Early Eastern Linear Pottery Culture. Most of the sites are known only from surface collections, and in only four cases have dwellings been documented. Settlement features/pits have been discovered at around half the sites. Finally, we know graves from only four (and possibly five) sites. In the article we deal also with the elaboration of the Early LPC/ELPC material culture. We discuss pottery from the point of view of typology and decoration and other types of findings, such as chipped stone industry, ground and polished stones, small clay artefacts, daub, animal bones etc., are not omitted either. The goal is to evaluate the research possibilities of the Early LPC/ELPC in Slovakia.

The Grierson Testament, 1969–71

2016 ◽  
Author(s):  
Gary Evans
Keyword(s):  
Documentary Film ◽  
Developing World ◽  
The State ◽  
Public Institutions ◽  
Film Production ◽  
Mcgill University ◽  
Television Film ◽  
The Subject

From 1969 to 1971, documentary film movement pioneer and founder John Grierson spent his sunset years at McGill University in Montreal, Canada. During that time, the Canadian Radio and Television Commission invited him to Ottawa to advise on the state of television policy and Canadian communications in general. Typically, Grierson cut a wide swathe through the subject, and provided a stimulating analysis of the state of Canada’s public institutions of television, film production, and realist filmmaking. Three volumes of transcripts of his audiotaped sessions stand as his final testament. Using this source, this chapter develops an overview of his position on the industry, on government-sponsored film, and on prospects for expanding realist images in what he acerbically called a developing world of consumerism and inane television. Typically, Grierson’s comments were filled with intelligence, experience, and acumen, while he also seemed to be wrestling with various contradictions and ideas derived from 19th century idealist philosophy. Perhaps Grierson was, as some have said, a curious combination of irreconcilable opposites. These transcripts reveal a visionary who had made things happen, whether as a bull in a china shop or as a fencer whose rapier intelligence demolished or convinced those with whom he engaged. With his death in 1972, this material stands as his last testament.

Archaeology, Theory, and War-Related Violence

2014 ◽  
Author(s):  
Helle Vandkilde
Keyword(s):  
Material Culture ◽  
Point Of View ◽  
The Other ◽  
Human Biology ◽  
Prime Mover ◽  
Ample Evidence ◽  
Late Discovery ◽  
Discursive Field ◽  
Made In

Warfare may be understood as violent social encounter with the Other, and has in this sense occurred from the first hominid societies until today. Ample evidence of war-related violence exists across time and space: skeletal traumata, material culture, weapons, war-related ritual finds, fighting technologies, fortifications, and martial iconographies. The archaeology of war is a late ‘discovery’ of the mid 1990s, but advances have recently been made in understanding the scale and roles of warfare in pre- and protohistory and how warfare and warriorhood relate to society, culture, evolution and human biology. This chapter ventures into this discursive field from a theoretical and archaeological point of view while reflecting upon the effectiveness and role of war as a prime mover in history. It is argued that war was often present but never truly endemic, and that war essentially is a matter of culture.

Das Filmförderungsgesetz und seine Ansätze zur Steigerung der Eigenkapitalbasis deutscher Kinospielfilmproduzenten

2019 ◽  
Author(s):  
Maria Kairies
Keyword(s):  
Film Industry ◽  
Equity Capital ◽  
Point Of View ◽  
Economic Conditions ◽  
Second Step ◽  
Film Production

How can film producers succeed in forming equity capital on the basis of the Filmfördergesetz (Film Funding Act)? The author examines this question, which is highly relevant for the film industry, taking into account the general economic conditions of film production. The previous approaches to strengthening the equity capital base, which are part of the Act, will be analysed before, in a second step, concrete solutions for a restructuring of the Filmfördergesetz will be worked out and evaluated from an economic and legal point of view. These include the introduction of a revenue corridor, the deletion of the own share and the formulation of minimum contract conditions. The work thus makes an up-to-date contribution to the discourse between producers, funding bodies and the legislator with regard to the forthcoming amendment of the Filmfördergesetz.

A New View of the Epic

1951 ◽  
Vol 20 (58) ◽  
pp. 2-10
Author(s):  
Émile Mireaux ◽  
Albin Michel ◽  
Sir John Myres
Keyword(s):  
Material Culture ◽  
Literary Form ◽  
Point Of View ◽  
Literary Texts ◽  
Folk Tale ◽  
Wide Interval ◽  
The North ◽  
North Side ◽  
North Wall ◽  
New View

Much has been written about the origin of the Homeric Poems, and the processes, more or less long, by which they were given eventual literary form. The archaeological discoveries of Schliemann and his successors, from 1870 to about 1910, lengthened the perspective and changed the point of view, diverting attention from the latest to the earlier phases, from an ‘Ionian’ to an ‘Aeolic’, ‘Achaean’, and even Mycenaean epic or saga or folk-tale. But not only was there no recovery of early literary texts related to the Minoan scripts, but the decline and fall of the Minoan régime revealed even more clearly the wide interval between the traditional date for the ‘Fall of Troy’ and the emergence of the ‘Ionian’ epic. Political circumstances unfortunately terminated the American excavation of Hissarlik before the questions asked by M. Charles de Vellay about the north side of the fortress could be completely answered; but it seems certain that there was a north wall, and that this was deliberately destroyed at a rather late date, as in the story of the foundation of Achilleum. In Aeolis and Ionia, too, no large excavation is possible yet; so attempts to find archaeological equivalents for the latest indications of material culture in the poems are still conjectural.

The Cadusii in Archaeology? Remarks on the Achaemenid Period (Iron Age IV) in Gilan and Talesh

2013 ◽  
Vol 17 (2) ◽  
pp. 115-151
Author(s):  
Christian Konrad Piller
Keyword(s):  
Material Culture ◽  
Iron Age ◽  
Caspian Sea ◽  
Point Of View ◽  
Armed Conflicts ◽  
The South ◽  
The Caspian Sea ◽  
Material Basis ◽  
South West ◽  
New Material

According to some classical authors, the region south-west of the Caspian Sea was inhabited by the large tribe of the Cadusians (Greek Καδουσιοι, Latin Cadusii). During the Achaemenid Period, several armed conflicts between the Imperial Persian forces and the warlike Cadusians occurred. Of particular importance is the disastrous defeat of Artaxerxes II in 380 B.C. From the archaeological point of view, little has been known about the material culture of the Achaemenid Period (Iron Age IV) in Talesh and Gilan. Until recently, only a few burial contexts from the South of Gilan could be dated to the period between the 6th and 4th centuries B.C. However, during the last two decades, Iranian archaeologists excavated numerous Bronze and Iron Age graveyards in the Talesh Region. A number of burial contexts at sites, such as Maryan, Mianroud or Vaske can securely be dated to the Achaemenid Period. With this new material basis, it was possible to subdivide the Iron Age IV into different subsequent phases. Furthermore, it is likely that the material culture described in this article could be at least partially attributed to the Cadusians.

Traditions of Metal-Working in the Later Neolithic and Early Bronze Age of Britain: Part I

1963 ◽  
Vol 29 ◽  
pp. 258-325 ◽  
Author(s):  
Dennis Britton
Keyword(s):  
Material Culture ◽  
Bronze Age ◽  
Point Of View ◽  
The Other ◽  
Early Bronze Age ◽  
Metal Working ◽  
Other Hand ◽  
Middle Bronze Age ◽  
The One

This paper is concerned with the earliest use in Britain of copper and bronze, from the first artifacts of copper in the later Neolithic until the transition from the Early to the Middle Bronze Age, as marked by palstaves and haft-flanged axes. It does not attempt to deal with all the material, but instead certain classes of evidence have been chosen to illustrate some of the main styles of workmanship. These groups have been considered both from the point of view of their archaeology, and of the technology they imply.Such an approach requires on the one hand that the artifacts are sorted into types, their associations in graves and hoards studied, their distributions plotted, and finally a consideration of the evidence for their affinities and chronology. On the other hand there are questions also of interest that need a different standpoint. Of what metals or alloys are the objects made? Can their sources be located? How did the smiths set about their work? Over what regions was production carried out? If we are to understand as much as we might of the life of prehistoric times, then surely we should look at material culture from as many view-points as possible—in this case, the manner and setting of its production as well as its classification.

scholarly journals Wyposażenie „PRL-owskiej” izby recepturowej ze zbiorów Muzeum Okręgowego im. Leona Wyczółkowskiego w Bydgoszczy. Genius loci czy suma przypadków?

2021 ◽  
pp. 187-203
Author(s):  
Gabriela Frischke ◽  
Roksana Wilczyńska ◽  
Wojciech Ślusarczyk
Keyword(s):  
Material Culture ◽  
Community Pharmacy ◽  
Point Of View ◽  
Truncated Form ◽  
Museum Exhibits ◽  
Private Pharmacy ◽  
Current State ◽  
State Of Affairs ◽  
Original Component

Equipment of a Prescription Room from the Polish People’s Republic Times in the Collection of Leon Wyczółkowski District Museum in Bydgoszcz. Genius loci or the Sum of Cases? In 2017, the Leon Wyczółkowski District Museum in Bydgoszcz purchased the collection of a private pharmacy museum, previously functioning in the back of the now-liquidated Pod Łabędziem (‘Under the Swan’) pharmacy in Bydgoszcz, first opened in 1853. Among the acquired museum exhibits, there is prescription room equipment from the Polish People’s Republic period. From the point of view of museum workers and researchers of pharmaceutical material culture, in order to learn more about the acquisitions, it is essential to answer the following questions: Where and when were the prescription furniture and their equipment produced? Were they used only in Pod Łabędziem (‘Under the Swan’) pharmacy? Is the room equipment complete? What can the preserved equipment tell us about the type of drugs produced there? The conducted analysis allows us to state that the prescription furniture were manufactured in Nowe nad Wisłą at the turn of the 1970s. The prescription room is an original component of the described pharmacy but preserved in a truncated form. Its location is secondary. Chaos reigns among the preserved utensils. The current state of affairs does not reflect the standards of work in the former community pharmacy. The sum of the cases prevails over the genius loci.

scholarly journals Material Culture and Typology

2021 ◽  
Vol 5 (1) ◽  
pp. 179-192
Author(s):  
Marie Louise Stig Sørensen
Keyword(s):  
Material Culture ◽  
Two Dimensions ◽  
Point Of View ◽  
Archaeological Practice ◽  
Archaeological Object ◽  
Decisive Influence ◽  
Production Strategies ◽  
The Subject ◽  
Archaeological Method ◽  
The Relationship

The active and discursive nature of material culture is the subject of this paper. It will, however, be approached from the point of view of typology and in particular the debate about the 'Swedish Typology’ (Gräslund 1974). Typology is probably the archaeological method or theory through which the discipline has most explicitly stated its view on the nature of the archaeological object. Inspired by the idea of naturalised epistemology as the basis for understanding how knowledge is constructed within the sciences (as discussed by Thomas 1996: 194), it is here argued that what we do, as archaeologists, is of importance rather than the theorising about our actions. Through a discussion of typology as expressed in archaeological practice, this paper will propose that the relationship between the object and typology is much simpler and more complex than our habitual use of the concept tends to suggest. It is proposed that the creation of typologies reveals the quite decisive influence which the object has upon the archaeological constructions. Typologies, moreover, are intimately connected to prehistoric production strategies. It is the relationship between these two dimensions of typologies, that we must understand in order to fully realise their potentials and understand their roles in archaeological practice.

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