Browse Titles - 34 results
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After Passing
written by Tai-Li Hu, 1950-; directed by Tai-Li Hu, 1950-; produced by Tai-Li Hu, 1950- (Watertown, MA: Documentary Educational Resources (DER), 1997), 11 mins
The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The film maker Hu Tai-Li went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images o...
Sample
written by Tai-Li Hu, 1950-; directed by Tai-Li Hu, 1950-; produced by Tai-Li Hu, 1950- (Watertown, MA: Documentary Educational Resources (DER), 1997), 11 mins
Description
The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The film maker Hu Tai-Li went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images of life forever. The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many h...
The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The film maker Hu Tai-Li went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images of life forever. The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The film maker Hu Tai-Li went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images of life forever. This film was shot in a natural and intimate climate. During the annual two harvests, various activities in daily life and festivals were presented in the film reflecting the villagers' attitudes towards gods, ghosts, ancestors, women, farmlands, urbanization, industrialization, reclamation and resettlement. The film maker attempted to reveal the Taiwanese way of facing drastic social changes. In this unusual film—the first Taiwanese documentary to achieve commercial Success—we are treated to a series of affectionate vignettes of life in filmmaker Hu Tai-Li’s mother-in-law’s village before large portions of it are destroyed to make way for the new East-West hightway.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Tai-Li Hu, 1950-
Author / Creator
Tai-Li Hu, 1950-
Date Published / Released
1997
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Taiwanese, Farming, Agriculture, Economic development, Government land, Factories, Roadbuilding, Ethnography
Copyright Message
© Documentary Educational Resources
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A Brief History of the Garifuna in Belize
written by Oliver N. Greene, Jr., fl. 2006; directed by Oliver N. Greene, Jr., fl. 2006; produced by Oliver N. Greene, Jr., fl. 2006 (Watertown, MA: Documentary Educational Resources (DER), 2006), 23 mins
The Garifuna are a Central American people of West African and Native American descent. One of their most popular rituals is wanaragua, a three-fold system of masked Christmas processionals commonly called Jankunú. This ritual is a unique blend of African, European, and Native American (Arawak and Carib) art trad...
Sample
written by Oliver N. Greene, Jr., fl. 2006; directed by Oliver N. Greene, Jr., fl. 2006; produced by Oliver N. Greene, Jr., fl. 2006 (Watertown, MA: Documentary Educational Resources (DER), 2006), 23 mins
Description
The Garifuna are a Central American people of West African and Native American descent. One of their most popular rituals is wanaragua, a three-fold system of masked Christmas processionals commonly called Jankunú. This ritual is a unique blend of African, European, and Native American (Arawak and Carib) art traditions in which social and cultural identities are expressed through music, dance, and costume. The Garifuna are a Central American peo...
The Garifuna are a Central American people of West African and Native American descent. One of their most popular rituals is wanaragua, a three-fold system of masked Christmas processionals commonly called Jankunú. This ritual is a unique blend of African, European, and Native American (Arawak and Carib) art traditions in which social and cultural identities are expressed through music, dance, and costume. The Garifuna are a Central American people of West African and Native American descent. One of their most popular rituals is wanaragua, a three-fold system of masked Christmas processionals commonly called Jankunú. This ritual is a unique blend of African, European, and Native American (Arawak and Carib) art traditions in which social and cultural identities are expressed through music, dance, and costume. As dancers adorn themselves in colorful regalia to mimic past foreign oppressors they symbolically affirm their identity. Rare footage of wárini, the now extinct ritual that is the Africanized predecessor to wanaragua, is accompanied by commentary on the significance of the ritual. Examples of wanaragua drumming and dance styles demonstrate how drummers rhythmically interpret the unique movements of each dancer. Gender play and role reversal become part of the revelry as Garifuna men mimic European women. Images of similar processionals in other locations include photos of Masquerade in St. Kitts-Nevis, Gombey in Bermuda, Jonkonnu in Jamaica, John Kuner (now extinct) in North Carolina, Junkanoo in the Bahamas, and Fancy Dress in Ghana. Jankunú Play places the viewer within the context of the Garifuna world at Christmas where music, dance, and art reflect the past to empower the future.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Oliver N. Greene, Jr., fl. 2006, Angel "Pappose" Thomas, Darren Trigueño, Brian Castillo
Author / Creator
Oliver N. Greene, Jr., fl. 2006
Date Published / Released
2006
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Oliver N. Greene, Jr., fl. 2006, Brian Castillo
Topic / Theme
Garifuna, Costumes, Gender roles, Religious rites and ceremonies, Social dances, Cultural change and history, Cultural identity, Tribal and national groups, Ethnography
Copyright Message
© Documentary Educational Resources
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Dani Houses
written by Karl G. Heider, 1935-; directed by Karl G. Heider, 1935-; produced by Karl G. Heider, 1935- (Watertown, MA: Documentary Educational Resources (DER), 1974), 16 mins
Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. Dani Houses (16 min) observes both round and square ho...
Sample
written by Karl G. Heider, 1935-; directed by Karl G. Heider, 1935-; produced by Karl G. Heider, 1935- (Watertown, MA: Documentary Educational Resources (DER), 1974), 16 mins
Description
Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. Dani Houses (16 min) observes both round and square house construction techniques of the Grand Valley Dani. It shows how the ground is cleared, walls are made from boards, poles lashed toge...
Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. Dani Houses (16 min) observes both round and square house construction techniques of the Grand Valley Dani. It shows how the ground is cleared, walls are made from boards, poles lashed together, and roofs being thatched. Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. At that time the Dani had the simplest of tools - long pointed wooden poles used as digging sticks that are hardened in the fire and soaked in water - and they still used their stone-bladed adzes. (By now, most Dani use steel shovels, axes, and bush knives and make stone adzes only for the tourist trade.) Dani Houses (16 min) observes both round and square house construction techniques of the Grand Valley Dani. It shows how the ground is cleared, walls are made from boards, poles lashed together, and roofs being thatched. Though it follows the house-building process from beginning to end, one is left asking the question: What happened after the houses were built?
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Date Written / Recorded
1963
Field of Study
Anthropology
Content Type
Documentary
Contributor
Karl G. Heider, 1935-
Author / Creator
Karl G. Heider, 1935-
Date Published / Released
1974
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Karl G. Heider, 1935-
Topic / Theme
Dani, Housebuilding, Cultural change and history, Tools, Food crops, Cultural participation, Rural population, Agriculture, Tribal and national groups, Ethnography
Copyright Message
by Documentary Educational Resources
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Dani Sweet Potatoes
written by Karl G. Heider, 1935-; directed by Karl G. Heider, 1935-; produced by Karl G. Heider, 1935- (Watertown, MA: Documentary Educational Resources (DER), 1974), 19 mins
Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. Dani Houses (16 min) observes both round and square ho...
Sample
written by Karl G. Heider, 1935-; directed by Karl G. Heider, 1935-; produced by Karl G. Heider, 1935- (Watertown, MA: Documentary Educational Resources (DER), 1974), 19 mins
Description
Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. Dani Houses (16 min) observes both round and square house construction techniques of the Grand Valley Dani. It shows how the ground is cleared, walls are made from boards, poles lashed toge...
Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. Dani Houses (16 min) observes both round and square house construction techniques of the Grand Valley Dani. It shows how the ground is cleared, walls are made from boards, poles lashed together, and roofs being thatched. Dani Sweet Potatoes (19 min) follows the sophisticated process of sweet potato horticulture developed by the Dani. It follows the Dani sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking and eating. At that time the Dani had the simplest of tools - long pointed wooden poles used as digging sticks that are hardened in the fire and soaked in water - and they still used their stone-bladed adzes. (By now, most Dani use steel shovels, axes, and bush knives and make stone adzes only for the tourist trade.) Dani Houses (16 min) observes both round and square house construction techniques of the Grand Valley Dani. It shows how the ground is cleared, walls are made from boards, poles lashed together, and roofs being thatched. Though it follows the house-building process from beginning to end, one is left asking the question: What happened after the houses were built?
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Date Written / Recorded
1963
Field of Study
Anthropology
Content Type
Documentary
Contributor
Karl G. Heider, 1935-
Author / Creator
Karl G. Heider, 1935-
Date Published / Released
1974
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Karl G. Heider, 1935-
Topic / Theme
Dani, Housebuilding, Cultural change and history, Tools, Food crops, Cultural participation, Rural population, Agriculture, Tribal and national groups, Ethnography
Copyright Message
by Documentary Educational Resources
×
See details
Highlands Trilogy, 1, First Contact
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 52 mins
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New...
Sample
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 52 mins
Description
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Ston...
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. The Papuans tell how they thought the white men were their ancestors, bleached by the sun and returned from the dead. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spellbound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there. College Adult This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spell-bound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, James Leahy, Daniel Leahy, 1912-1991, Richard Oxenburgh, fl. 1969-1982
Author / Creator
Bob Connolly, 1945-, Robin Anderson, 1948-2002
Date Published / Released
1983
Publisher
Filmakers Library
Series
Highlands Trilogy
Speaker / Narrator
Richard Oxenburgh, fl. 1969-1982
Person Discussed
Daniel Leahy, 1912-1991, James Leahy, Michael Leahy, 1901-1979
Topic / Theme
Papua New Guinean, Imperialism, Tribal and national groups, Cultural identity, Intercultural communication, Cultural change and history, Gold mines and mining, Anthropology, Cultural adaptation, Ethnography, Ethnic Studies, Papua New Guineans
Copyright Message
Copyright © 1983. Used by permission of Filmakers Library. All rights reserved.
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Highlands Trilogy, 1, First Contact: Filmmaker Interviews
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 38 mins
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New...
Sample
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 1 (New York, NY: Filmakers Library, 1983), 38 mins
Description
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Ston...
This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. The Papuans tell how they thought the white men were their ancestors, bleached by the sun and returned from the dead. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spellbound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there. College Adult This is the classic film of cultural confrontation that is as compelling today as when it was first released over 20 years ago. When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But, in 1930, when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold. First Contact is one of those rare films that holds an audience spell-bound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there.
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Field of Study
Anthropology
Content Type
Interview
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, James Leahy, Daniel Leahy, 1912-1991, Peter Thomson
Author / Creator
Bob Connolly, 1945-, Robin Anderson, 1948-2002
Date Published / Released
1983
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
James Leahy, Daniel Leahy, 1912-1991, Peter Thomson, Michael Leahy, 1901-1979
Topic / Theme
Papua New Guinean, Imperialism, Tribal and national groups, Cultural identity, Intercultural communication, Cultural change and history, Gold mines and mining, Anthropology, Cultural adaptation, Ethnography, Ethnic Studies, Papua New Guineans
Copyright Message
Copyright © 1983. Used by permission of Filmakers Library. All rights reserved.
×
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Highlands Trilogy, 2, Joe Leahy's Neighbors
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 2 (New York, NY: Filmakers Library, 1994), 1 hour 30 mins
This film is the follow up of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970's. European educated, raised in the highlan...
Sample
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 2 (New York, NY: Filmakers Library, 1994), 1 hour 30 mins
Description
This film is the follow up of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970's. European educated, raised in the highlands of Papua, freed by his mixed race from the entanglements of tribal obligation, Joe leads a Western lifestyle governed by individuali...
This film is the follow up of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970's. European educated, raised in the highlands of Papua, freed by his mixed race from the entanglements of tribal obligation, Joe leads a Western lifestyle governed by individualism and the pursuit of affluence. While Joe may live in Western grandeur, he is still surrounded by his subsistence level Ganiga 'neighbors,' who never let him forget the original source of his prosperity. Joe spends much of his waking hours just keeping the lid on things. Filmmakers Connolly and Anderson lived for eighteen continuous months on the edge of Joe's plantation, in the 'no man's land' between Leahy and the Ganiga. Their lively, non-judgmental narrative eloquently captures the conflicting values of tribalism and capitalism. College Adult This film is the followup of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970s. European educated, raised in the highlands of Papua, freed by his mixed race from the entanglements of tribal obligation, Joe leads a Western lifestyle governed by individualism and the pursuit of affluence. While Joe may live in Western grandeur, he is still surrounded by his subsistence level Ganiga "neighbors," who never let him forget the original source of his prosperity. Joe spends much of his waking hours just keeping the lid on things. Filmmakers Connolly and Anderson lived for eighteen continuous months on the edge of Joe's plantation, in the "no man's land" between Leahy and the Ganiga. Their lively, non-judgemental narrative eloquently captures the conflicting values of tribalism and capitalism.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, Popina Mai, Tumul, Joseph Madang, Joe Leahy
Author / Creator
Bob Connolly, 1945-, Robin Anderson, 1948-2002
Date Published / Released
1988, 1994
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
Joe Leahy
Topic / Theme
Australian, Ganiga, Property rights, Coffee, Plantations, Tribal and national groups, Imperialism, Economic development, Cultural change and history, Anthropology, Cultural adaptation, Ethnography, Ethnic Studies, Australians
Copyright Message
Copyright © 1994. Used by permission of Filmakers Library. All rights reserved.
×
See details
Highlands Trilogy, 2, Joe Leahy's Neighbors: Film Discussion
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 2 (New York, NY: Filmakers Library, 1994), 29 mins
This film is the follow up of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970's. European educated, raised in the highlan...
Sample
directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 2 (New York, NY: Filmakers Library, 1994), 29 mins
Description
This film is the follow up of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970's. European educated, raised in the highlands of Papua, freed by his mixed race from the entanglements of tribal obligation, Joe leads a Western lifestyle governed by individuali...
This film is the follow up of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970's. European educated, raised in the highlands of Papua, freed by his mixed race from the entanglements of tribal obligation, Joe leads a Western lifestyle governed by individualism and the pursuit of affluence. While Joe may live in Western grandeur, he is still surrounded by his subsistence level Ganiga 'neighbors,' who never let him forget the original source of his prosperity. Joe spends much of his waking hours just keeping the lid on things. Filmmakers Connolly and Anderson lived for eighteen continuous months on the edge of Joe's plantation, in the 'no man's land' between Leahy and the Ganiga. Their lively, non-judgmental narrative eloquently captures the conflicting values of tribalism and capitalism. College Adult This film is the followup of First Contact. It traces the fortunes of Joe Leahy, the mixed-race son of Australian explorer Michael Leahy, in his uneasy relationship with his tribal neighbors. Joe built his coffee plantation on land bought from the Ganiga in the mid 1970s. European educated, raised in the highlands of Papua, freed by his mixed race from the entanglements of tribal obligation, Joe leads a Western lifestyle governed by individualism and the pursuit of affluence. While Joe may live in Western grandeur, he is still surrounded by his subsistence level Ganiga "neighbors," who never let him forget the original source of his prosperity. Joe spends much of his waking hours just keeping the lid on things. Filmmakers Connolly and Anderson lived for eighteen continuous months on the edge of Joe's plantation, in the "no man's land" between Leahy and the Ganiga. Their lively, non-judgemental narrative eloquently captures the conflicting values of tribalism and capitalism.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, Popina Mai, Tumul, Joseph Madang, Joe Leahy
Author / Creator
Bob Connolly, 1945-, Robin Anderson, 1948-2002
Date Published / Released
1988, 1994
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
Joe Leahy
Topic / Theme
Australian, Ganiga, Property rights, Coffee, Plantations, Tribal and national groups, Imperialism, Economic development, Cultural change and history, Anthropology, Cultural adaptation, Ethnography, Ethnic Studies, Australians
Copyright Message
Copyright © 1994. Used by permission of Filmakers Library. All rights reserved.
×
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Highlands Trilogy, 3, Black Harvest
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 1 hour 30 mins
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land...
Sample
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 1 hour 30 mins
Description
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to d...
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to defeat the venture. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future. College Adult Black Harvest, the final film in the Highlands Trilogy, charts the progress of Joe Leahy in convincing the Ganiga tribespeople to join him in a coffee growing venture. He provides the money and the expertise; they supply the land and labor. But on the eve of success, the world coffee price collapses and tribal warfare erupts in the valley. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-, Joseph Madang, Popina Mai, Joe Leahy
Author / Creator
Robin Anderson, 1948-2002, Bob Connolly, 1945-
Date Published / Released
1992
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
Joe Leahy
Topic / Theme
Ganiga, Biracial people, War, Social conflict, Plantations, Coffee, Tribal and national groups, Cultural change and history, Cultural identity, Anthropology, Ethnography, Ethnic Studies
Copyright Message
Copyright © 1992. Used by permission of Filmakers Library. All rights reserved.
×
See details
Highlands Trilogy, 3, Black Harvest: Film Discussion
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 28 mins
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land...
Sample
written by Robin Anderson, 1948-2002 and Bob Connolly, 1945-; directed by Bob Connolly, 1945- and Robin Anderson, 1948-2002; produced by Robin Anderson, 1948-2002 and Bob Connolly, 1945-, in Highlands Trilogy, 3 (New York, NY: Filmakers Library, 1992), 28 mins
Description
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to d...
The third film of the renowned trilogy on Papua New Guinea joins First Contact and Joe Leahy's Neighbours in our collection. This film charts the progress of Joe in convincing the Ganiga tribespeople to join him in a coffee growing venture. He is to provide the money and the expertise; they are to supply the land and the labor. He stands to make 60%; the tribespeople 40%. Tribal wars and the drop in coffee prices on the world market conspire to defeat the venture. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future. College Adult Black Harvest, the final film in the Highlands Trilogy, charts the progress of Joe Leahy in convincing the Ganiga tribespeople to join him in a coffee growing venture. He provides the money and the expertise; they supply the land and labor. But on the eve of success, the world coffee price collapses and tribal warfare erupts in the valley. Always suspect because of his mixed-race status, Joe is in deep trouble with the tribespeople when his promises of riches fail to materialize. As he organizes to emigrate with his family to Australia, he is a saddened man with an uncertain future.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robin Anderson, 1948-2002, Bob Connolly, 1945-
Author / Creator
Robin Anderson, 1948-2002, Bob Connolly, 1945-
Date Published / Released
1992
Publisher
Filmakers Library
Series
Highlands Trilogy
Person Discussed
Joe Leahy
Topic / Theme
Ganiga, Biracial people, War, Social conflict, Plantations, Coffee, Tribal and national groups, Cultural change and history, Film industry, Ethnography, Ethnic Studies
Copyright Message
Copyright © 1992. Used by permission of Filmakers Library. All rights reserved.
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