91 results for your search
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Apu Condor (The Condor God)
written by Gianfranco Norelli, fl. 1980-2005; directed by Gianfranco Norelli, fl. 1980-2005; produced by Gianfranco Norelli, fl. 1980-2005 (Watertown, MA: Documentary Educational Resources (DER), 1992), 30 mins
A unique and highly visual documentary that provides a detailed observation of the sacred Peruvian 'Yawar Fiesta of the Apu Condor'.
Sample
written by Gianfranco Norelli, fl. 1980-2005; directed by Gianfranco Norelli, fl. 1980-2005; produced by Gianfranco Norelli, fl. 1980-2005 (Watertown, MA: Documentary Educational Resources (DER), 1992), 30 mins
Description
A unique and highly visual documentary that provides a detailed observation of the sacred Peruvian 'Yawar Fiesta of the Apu Condor'. A unique and highly visual documentary that provides a detailed observation of the sacred Peruvian "Yawar Fiesta of the Apu Condor". The Fiesta takes place high in the Peruvian Andes in the tiny village of Cotabambas, an impoverished farming community where all the contradictions that characterize Peru's splintered...
A unique and highly visual documentary that provides a detailed observation of the sacred Peruvian 'Yawar Fiesta of the Apu Condor'. A unique and highly visual documentary that provides a detailed observation of the sacred Peruvian "Yawar Fiesta of the Apu Condor". The Fiesta takes place high in the Peruvian Andes in the tiny village of Cotabambas, an impoverished farming community where all the contradictions that characterize Peru's splintered culture and economy are thrown into relief. Five hundred years after the arrival of Columbus and the Spanish Conquistadores, the indigenous Andinos, descendents of the Incas still live under the feudal control of their Mestizo Landowners, the mixed blood descendents of the Spanish. The themes of social stratification, ritual reversal and political relationships are an integral aspect of this film which culminates in a dramatic adaptation of the classic Spanish bullfight.
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Field of Study
Politics & Current Affairs
Content Type
Documentary
Contributor
Gianfranco Norelli, fl. 1980-2005, Noemi Delgado, Juri Ortiz, Father Giacomo Bonaita, Julio Delgado, Rafo Montesinos, Dimas Gamarra
Author / Creator
Gianfranco Norelli, fl. 1980-2005
Date Published / Released
1992
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Gianfranco Norelli, fl. 1980-2005
Topic / Theme
Peruvian, Politics, Religious festivals, Social strata, Religious rites and ceremonies, Ethnography, Peruvians
Copyright Message
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Barracks Man (L'homme des Casernes)
written by Jacqueline Veuve, 1930-2013; directed by Jacqueline Veuve, 1930-2013; produced by Jacqueline Veuve, 1930-2013 (Watertown, MA: Documentary Educational Resources (DER), 1994), 1 hour 30 mins
This film deals with the issue of mandatory military service in Switzerland. For four months, from February to May 1990, filmmaker Jacqueline Veuve and her team filmed a platoon engaged in basic training at Colombier, Switzerland.
Sample
written by Jacqueline Veuve, 1930-2013; directed by Jacqueline Veuve, 1930-2013; produced by Jacqueline Veuve, 1930-2013 (Watertown, MA: Documentary Educational Resources (DER), 1994), 1 hour 30 mins
Description
This film deals with the issue of mandatory military service in Switzerland. For four months, from February to May 1990, filmmaker Jacqueline Veuve and her team filmed a platoon engaged in basic training at Colombier, Switzerland. This film deals with the issue of mandatory military service in Switzerland. For four months, from February to May 1990, filmmaker Jacqueline Veuve and her team filmed a platoon engaged in basic training at Colombier, S...
This film deals with the issue of mandatory military service in Switzerland. For four months, from February to May 1990, filmmaker Jacqueline Veuve and her team filmed a platoon engaged in basic training at Colombier, Switzerland. This film deals with the issue of mandatory military service in Switzerland. For four months, from February to May 1990, filmmaker Jacqueline Veuve and her team filmed a platoon engaged in basic training at Colombier, Switzerland. Having previously filmed recruitment, Veuve was now allowed to document exercises, inspections and rest breaks. Although she interviewed the entire platoon on several occasions, the film focusses on five recruits from different parts of French-speaking Switzerland, each with a different background and a unique opinion on serving in the military. Time is also spent on the superior officers; the Colonel, the Major, the platoon-leader, and a Corporal. The recruits' remarks underline problems concerning not only the army, but life in general, including unemployment, drugs and the many changes going on in the world today.
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Date Written / Recorded
1990
Field of Study
Politics & Current Affairs
Content Type
Documentary
Contributor
Jacqueline Veuve, 1930-2013
Author / Creator
Jacqueline Veuve, 1930-2013
Date Published / Released
1994
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Swiss, Psychology, Military training, National government, Militias, Cultural identity, Politics, Soldiers, Ethnography
Copyright Message
© Documentary Educational Resources
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Diary from Rivesaltes 1941-1942 (Journal de Rivesaltes 1941-1942)
written by Jacqueline Veuve, 1930-2013; directed by Jacqueline Veuve, 1930-2013 (Watertown, MA: Documentary Educational Resources (DER), 1997), 1 hour 15 mins
From August to October 1942, over 2250 Jews were deported from the internment camp of Rivesaltes to Auschwitz by way of Drancy. Among them were 110 children. Friedel Bohny-Reiter, a nurse with the Swiss Aid to Children, worked in this camp in the South of France.
Sample
written by Jacqueline Veuve, 1930-2013; directed by Jacqueline Veuve, 1930-2013 (Watertown, MA: Documentary Educational Resources (DER), 1997), 1 hour 15 mins
Description
From August to October 1942, over 2250 Jews were deported from the internment camp of Rivesaltes to Auschwitz by way of Drancy. Among them were 110 children. Friedel Bohny-Reiter, a nurse with the Swiss Aid to Children, worked in this camp in the South of France. From August to October 1942, over 2250 Jews were deported from the internment camp of Rivesaltes to Auschwitz by way of Drancy. Among them were 110 children. Friedel Bohny-Reiter, a nurs...
From August to October 1942, over 2250 Jews were deported from the internment camp of Rivesaltes to Auschwitz by way of Drancy. Among them were 110 children. Friedel Bohny-Reiter, a nurse with the Swiss Aid to Children, worked in this camp in the South of France. From August to October 1942, over 2250 Jews were deported from the internment camp of Rivesaltes to Auschwitz by way of Drancy. Among them were 110 children. Friedel Bohny-Reiter, a nurse with the Swiss Aid to Children, worked in this camp in the South of France. Like many others in the formerly unoccupied zone, it was run by the French. Once a military camp, it had been converted in 1941 into a transit camp regrouping Jewish, Gipsy and Spanish people living in the area or who had fled to the free zone as refugees. Thanks to the young nurse from Basel, many children were probably saved from certain death. The film follows the nurse on a visit to that still intact site as well as through the pages of the journal she wrote in those dark days, published by Editions Zoë, Geneva in 1993.
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Field of Study
Politics & Current Affairs
Content Type
Documentary
Contributor
Jacqueline Veuve, 1930-2013, Friedel Bohny-Reiter
Author / Creator
Jacqueline Veuve, 1930-2013
Date Published / Released
1997
Publisher
Documentary Educational Resources (DER)
Person Discussed
Friedel Bohny-Reiter
Topic / Theme
Swiss, Children, Refugees, Starvation, Jewish people, Nurses, Internment camps, Ethnography, Jews, Inuit
Copyright Message
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From Babylonia To Beverly Hills: The Exodus of Iran's Jews
written by Tanaz Eshaghian, 1974-; directed by Tanaz Eshaghian, 1974-; produced by Sara Nodjoumi, fl. 1997-2015 and Tanaz Eshaghian, 1974- (Watertown, MA: Documentary Educational Resources (DER), 2003), 27 mins
In 1979, the Islamic Revolution in Iran brought a twenty-five- hundred-year-old history to a close for the Jews who left their homeland for America. Uncertain about their safety and fearing religious persecution in Khomeini's Islamic Theocracy, an estimated 80,000 of Iran's 100,000 Jews fled the country. This docu...
Sample
written by Tanaz Eshaghian, 1974-; directed by Tanaz Eshaghian, 1974-; produced by Sara Nodjoumi, fl. 1997-2015 and Tanaz Eshaghian, 1974- (Watertown, MA: Documentary Educational Resources (DER), 2003), 27 mins
Description
In 1979, the Islamic Revolution in Iran brought a twenty-five- hundred-year-old history to a close for the Jews who left their homeland for America. Uncertain about their safety and fearing religious persecution in Khomeini's Islamic Theocracy, an estimated 80,000 of Iran's 100,000 Jews fled the country. This documentary tells the story of those Jews who reestablished a tight knit community in Los Angeles. In 1979, the Islamic Revolution in Iran...
In 1979, the Islamic Revolution in Iran brought a twenty-five- hundred-year-old history to a close for the Jews who left their homeland for America. Uncertain about their safety and fearing religious persecution in Khomeini's Islamic Theocracy, an estimated 80,000 of Iran's 100,000 Jews fled the country. This documentary tells the story of those Jews who reestablished a tight knit community in Los Angeles. In 1979, the Islamic Revolution in Iran brought a twenty-five- hundred-year-old history to a close for the Jews who left their homeland for America. Uncertain about their safety and fearing religious persecution in Khomeini's Islamic Theocracy, an estimated 80,000 of Iran's 100,000 Jews fled the country. This documentary tells the story of those Jews who reestablished a tight knit community in Los Angeles. Iranian Jewish families talk about their past in Iran - how the increasingly hostile circumstances forced them to flee their own country. They recall the difficulties of starting a new life in the United States and voice their fears about their children growing up in an alien society. Young Iranian adults, on the other hand, talk about the pressures of confirming to parental expectations, of remaining true to their Iranian Jewish heritage even as they try and carve their own individual identities in modern day American society. Historical background via the use of archival footage gives a detailed overview of the original Jewish settlement in Iran and their relationship with their adopted country as well as how they fared in the 20th century. In the American cultural imagination, very little is known about the religious diversity of Iranians living in America. This documentary helps create a more nuanced view of the culture and religious diversity of Iranians both inside and outside the country.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Tanaz Eshaghian, 1974-, Matt, fl. 2003, Lorraine Soleimani, fl. 2003, Robin Songorian, fl. 2003, Sharona Nickfarjam, fl. 2003, Rabbi David Shofet, fl. 2003, Mahrokh Eshaghian, fl. 2003, Sara Nodjoumi, fl. 1997-2015, Fausto Campoli
Author / Creator
Tanaz Eshaghian, 1974-
Date Published / Released
2003
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Sara Nodjoumi, fl. 1997-2015, Fausto Campoli
Topic / Theme
Iranian, Intergenerational conflict, Cultural identity, Cultural assimilation, Immigration and emigration, Religious persecution, Jewish people, Ethnography, Jews, Inuit
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From Honey to Ashes
written by Lucas Bessire, fl. 2004; directed by Lucas Bessire, fl. 2004; produced by Lucas Bessire, fl. 2004 (Watertown, MA: Documentary Educational Resources (DER), 2006), 47 mins
In March 2004, one of the world's last voluntarily isolated groups of hunter-gatherers walked out of the forest in northern Paraguay, fleeing ranchers' bulldozers. They formed a new village with their more settled relatives, where they confronted the complexities of learning how to become "Ayoreo Indians" and more...
Sample
written by Lucas Bessire, fl. 2004; directed by Lucas Bessire, fl. 2004; produced by Lucas Bessire, fl. 2004 (Watertown, MA: Documentary Educational Resources (DER), 2006), 47 mins
Description
In March 2004, one of the world's last voluntarily isolated groups of hunter-gatherers walked out of the forest in northern Paraguay, fleeing ranchers' bulldozers. They formed a new village with their more settled relatives, where they confronted the complexities of learning how to become "Ayoreo Indians" and more critically, how to survive in a rapidly changing world. In March 2004, one of the world's last voluntarily isolated groups of hunter-g...
In March 2004, one of the world's last voluntarily isolated groups of hunter-gatherers walked out of the forest in northern Paraguay, fleeing ranchers' bulldozers. They formed a new village with their more settled relatives, where they confronted the complexities of learning how to become "Ayoreo Indians" and more critically, how to survive in a rapidly changing world. In March 2004, one of the world's last voluntarily isolated groups of hunter-gatherers walked out of the forest in northern Paraguay, fleeing ranchers' bulldozers. They formed a new village with their more settled relatives, where they confronted the complexities of learning how to become "Ayoreo Indians" and more critically, how to survive in a rapidly changing world. This documentary provides an intimate portrait of a divided community four months after this historical event, and their efforts to chart a collective future in a context shaped by deforestation, NGO activity, anthropologists and evangelical Christianity. Self-consciously engaging a history of ethnographic representations and tropes of "first contact," the reflexive video uses the filmmaker's narration to reflect on the experiences and confusions of a process that remains ultimately opaque for the "new people," for their relatives, and for the anthropologist. This film contributes to the visual anthropology of lowland South America by putting a human face to critical questions about "contact," "indigeneity" and the ways certain narrow ideas of "modernity" continue to be presented as the only options for Native peoples in the Gran Chaco and beyond.
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Date Written / Recorded
2004
Field of Study
Anthropology
Content Type
Documentary
Contributor
Lucas Bessire, fl. 2004
Author / Creator
Lucas Bessire, fl. 2004
Date Published / Released
2006
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Ayoreo, Politics, Cultural participation, Property rights, Cultural identity, Tribal and national groups, Ethnography
Copyright Message
© Documentary Educational Resources
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Her Name Came on Arrows: A Kinship Interview with the Baruya of New Guinea
written by Allison Jablonko, 1936-, Marek Jablonko, 1927-2002 and Stephen Olsson; produced by Allison Jablonko, 1936-, Marek Jablonko, 1927-2002 and Stephen Olsson; interview by Maurice Godelier, 1934- (Watertown, MA: Documentary Educational Resources (DER), 1982), 26 mins
In the eastern highlands of Papua New Guinea, French anthropologist Maurice Godelier invites five of his Baruya friends and informants to his house to discuss Baruya kinship and rules of marriage. As Godelier poses questions, the kinship rules that provide the cohesive fabric of Baruya culture are brought to life.
Sample
written by Allison Jablonko, 1936-, Marek Jablonko, 1927-2002 and Stephen Olsson; produced by Allison Jablonko, 1936-, Marek Jablonko, 1927-2002 and Stephen Olsson; interview by Maurice Godelier, 1934- (Watertown, MA: Documentary Educational Resources (DER), 1982), 26 mins
Description
In the eastern highlands of Papua New Guinea, French anthropologist Maurice Godelier invites five of his Baruya friends and informants to his house to discuss Baruya kinship and rules of marriage. As Godelier poses questions, the kinship rules that provide the cohesive fabric of Baruya culture are brought to life. In the eastern highlands of Papua New Guinea, French anthropologist Maurice Godelier invites five of his Baruya friends and informants...
In the eastern highlands of Papua New Guinea, French anthropologist Maurice Godelier invites five of his Baruya friends and informants to his house to discuss Baruya kinship and rules of marriage. As Godelier poses questions, the kinship rules that provide the cohesive fabric of Baruya culture are brought to life. In the eastern highlands of Papua New Guinea, French anthropologist Maurice Godelier invites five of his Baruya friends and informants to his house to discuss Baruya kinship and rules of marriage. As Godelier poses questions, the kinship rules that provide the cohesive fabric of Baruya culture are brought to life. Abstract terms are given practical meanings as Godelier investigates Baruya customs of stealing wives, exchanging sisters for wives, stealing names and exchanging 'food for blood.'
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Field of Study
Politics & Current Affairs
Content Type
Interview
Contributor
Allison Jablonko, 1936-, Marek Jablonko, 1927-2002, Stephen Olsson, Maurice Godelier, 1934-, Kandavatche, Djirinac, Gwataie
Author / Creator
Allison Jablonko, 1936-, Marek Jablonko, 1927-2002, Stephen Olsson, Maurice Godelier, 1934-
Date Published / Released
1982
Publisher
Documentary Educational Resources (DER)
Person Discussed
Kandavatche, Djirinac, Gwataie
Topic / Theme
Baruya, Cultural identity, Kin relationships, Marriage, Family, Tribal and national groups, Ethnography
Copyright Message
© Documentary Educational Resources
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In the Shadow of The Sun
written by Nadine Wanono; directed by Nadine Wanono and Phillipe Lordou, 1932-; produced by Nadine Wanono and Phillipe Lordou, 1932- (Watertown, MA: Documentary Educational Resources (DER), 1998), 1 hour 23 mins
A film about a Dogon funeral and enthronement ritual.
In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the wor...
In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the wor...
Sample
written by Nadine Wanono; directed by Nadine Wanono and Phillipe Lordou, 1932-; produced by Nadine Wanono and Phillipe Lordou, 1932- (Watertown, MA: Documentary Educational Resources (DER), 1998), 1 hour 23 mins
Description
A film about a Dogon funeral and enthronement ritual.
In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the world, chose the supreme religious chief who was responsible for fertility, rain and order on earth. In Mali, 800 kilometers northeast of... A film about a Dogon funeral and enthronement ritual.
In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the world, chose the supreme religious chief who was responsible for fertility, rain and order on earth. In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the world, chose the supreme religious chief who was responsible for fertility, rain and order on earth. The chief priest, called a hogon, resides with a few members of his family in an isolated sanctuary given the name of his cast, "Arou", a sanctuary embedded in the cliffs, sheltered from the eyes of men. In 1984, the last of the Arou hogons died. At the bequest of the elders, his son, Ogomale, accepted the offer to replace his father temporarily to avoid leaving the position vacant. Due to economic troubles and religious discord, the funeral was not set until June 7th, 1992. For three days and two nights, the men of the Arou clan and neighboring families came to pay homage to the priest. Six weeks later, the nomination and the enthronement of the successor are organized. After his enthronement the hogon will spend the rest of his life in the sanctuary of Arou, and he will not be allowed to leave under any circumstances. Show more Show less
In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the world, chose the supreme religious chief who was responsible for fertility, rain and order on earth. In Mali, 800 kilometers northeast of... A film about a Dogon funeral and enthronement ritual.
In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the world, chose the supreme religious chief who was responsible for fertility, rain and order on earth. In Mali, 800 kilometers northeast of the capital of Bamako, the cliffs of Bandiagara stretch about 300 kilometers and reach a height of 300 meters. It is here among the Arou, one of the four tribes of the Dogon population, that Amma, Lord and creator of the world, chose the supreme religious chief who was responsible for fertility, rain and order on earth. The chief priest, called a hogon, resides with a few members of his family in an isolated sanctuary given the name of his cast, "Arou", a sanctuary embedded in the cliffs, sheltered from the eyes of men. In 1984, the last of the Arou hogons died. At the bequest of the elders, his son, Ogomale, accepted the offer to replace his father temporarily to avoid leaving the position vacant. Due to economic troubles and religious discord, the funeral was not set until June 7th, 1992. For three days and two nights, the men of the Arou clan and neighboring families came to pay homage to the priest. Six weeks later, the nomination and the enthronement of the successor are organized. After his enthronement the hogon will spend the rest of his life in the sanctuary of Arou, and he will not be allowed to leave under any circumstances. Show more Show less
Date Written / Recorded
1992
Field of Study
Politics & Current Affairs
Content Type
Documentary
Contributor
Nadine Wanono, Ogomalé Din, Phillipe Lordou, 1932-
Author / Creator
Nadine Wanono, Phillipe Lordou, 1932-
Date Published / Released
1998
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Dogon, Spiritual leaders, Burial services, Funerals, Traditional history, Ethnography
Copyright Message
by Documentary Educational Resources
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Indian Self-Rule: A Problem of History
written by Selma Thomas, fl. 1985; directed by Selma Thomas, fl. 1985; produced by Selma Thomas, fl. 1985 (Watertown, MA: Documentary Educational Resources (DER), 1985), 58 mins
After centuries of struggle, the Indians of North America own less than 2% of the land settled by their ancestors. Indian Self-Rule traces the history of white-Indian relations from nineteenth century treaties through the present, as tribal leaders, historians, teachers, and other Indians gather at a 1983 conferen...
Sample
written by Selma Thomas, fl. 1985; directed by Selma Thomas, fl. 1985; produced by Selma Thomas, fl. 1985 (Watertown, MA: Documentary Educational Resources (DER), 1985), 58 mins
Description
After centuries of struggle, the Indians of North America own less than 2% of the land settled by their ancestors. Indian Self-Rule traces the history of white-Indian relations from nineteenth century treaties through the present, as tribal leaders, historians, teachers, and other Indians gather at a 1983 conference organized to reevaluate the significance of the Indian Reorganization Act of 1934. After centuries of struggle, the Indians of North...
After centuries of struggle, the Indians of North America own less than 2% of the land settled by their ancestors. Indian Self-Rule traces the history of white-Indian relations from nineteenth century treaties through the present, as tribal leaders, historians, teachers, and other Indians gather at a 1983 conference organized to reevaluate the significance of the Indian Reorganization Act of 1934. After centuries of struggle, the Indians of North America own less than 2% of the land settled by their ancestors. Indian Self-Rule traces the history of white-Indian relations from nineteenth century treaties through the present, as tribal leaders, historians, teachers, and other Indians gather at a 1983 conference organized to reevaluate the significance of the Indian Reorganization Act of 1934. The experiences of the Flathead Nation of Montana, the Navajo Nation of the Southwest, and the Quinault people of the Olympic Peninsula illustrate some of the ways Indians have dealt with shifting demands imposed upon them, from allotment to reorganization to termination and relocation. Particularly eloquent are Indian reflections upon the difficulties of maintaining cultural identities in a changing world and within a larger society that views Indians with ambivalence.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Selma Thomas, fl. 1985, Joe DeLaCruz, 1937-2000, Roger Buffalohead, Oren Lyons, 1930-, Peterson Zah, 1937-, Ron Therriault, Philip S. Deloria, Ted D'Arms
Author / Creator
Selma Thomas, fl. 1985
Date Published / Released
1985
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Ted D'Arms
Topic / Theme
Quinault, Navajo, Kootenai, Pend d'Oreilles, Salish, American Indian, Government policy, Land redistribution, Indian reservations, Cultural change and history, Cultural identity, Tribal and national groups, Ethnography, Kutenai, Pend d'Oreille
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Kalahari Family, A Kalahari Family Part 3: Real Water
written by John Marshall, 1932-2005; directed by John Marshall, 1932-2005 and Claire Ritchie, fl. 1991; produced by Lorna Jean Marshall, 1898-2002 and John Marshall, 1932-2005, in Kalahari Family (Watertown, MA: Documentary Educational Resources (DER), 2001), 57 mins
Ju/'hoan farming communities multiply during the 1980s only to face a new threat. The Department of Nature Conservation wants to create a game reserve on Ju/'hoan territory. People will be forbidden to raise livestock or crops. Instead, Ju/'hoansi will be encouraged to act like "Bushmen" and hunt for the amusement...
Sample
written by John Marshall, 1932-2005; directed by John Marshall, 1932-2005 and Claire Ritchie, fl. 1991; produced by Lorna Jean Marshall, 1898-2002 and John Marshall, 1932-2005, in Kalahari Family (Watertown, MA: Documentary Educational Resources (DER), 2001), 57 mins
Description
Ju/'hoan farming communities multiply during the 1980s only to face a new threat. The Department of Nature Conservation wants to create a game reserve on Ju/'hoan territory. People will be forbidden to raise livestock or crops. Instead, Ju/'hoansi will be encouraged to act like "Bushmen" and hunt for the amusement of tourists. Urgent grass roots organizing ensues as the people seek to control their traditional lands.
Field of Study
Anthropology
Content Type
Documentary
Contributor
Claire Ritchie, fl. 1991, John Marshall, 1932-2005, G≠kao Dabe, 1937-, Tsamkxao ≠Oma, ≠Oma Tsamkxao, Lorna Jean Marshall, 1898-2002, Rena Baskin
Author / Creator
John Marshall, 1932-2005, Claire Ritchie, fl. 1991
Date Published / Released
2001
Publisher
Documentary Educational Resources (DER)
Series
Kalahari Family
Speaker / Narrator
Rena Baskin
Topic / Theme
!Kung, Ju/'hoansi, Rural population, Tribal and national groups, Water supply, Agriculture, Social activism and activists, Stereotypes, Imperialism, Cultural change and history, Ethnography, Ju❘’hoan
Copyright Message
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Pepino Mango Nance
written by Bann Roy, fl. 1993 and Gillian Goslinga-Roy, fl. 1996; directed by Gillian Goslinga-Roy, fl. 1996 and Bann Roy, fl. 1993 (Watertown, MA: Documentary Educational Resources (DER), 1997), 11 mins
Pepino Mango Nance was a class project made under the strict "rules" of CNTV 508 (at USC). The rules of the class were: the film had to be non-sync 16 mm, the number of shoot days could not exceed 10, the shooting ratio could not be more than 1:3, only two sessions of 4 hours each were allowed for the sound mix, a...
Sample
written by Bann Roy, fl. 1993 and Gillian Goslinga-Roy, fl. 1996; directed by Gillian Goslinga-Roy, fl. 1996 and Bann Roy, fl. 1993 (Watertown, MA: Documentary Educational Resources (DER), 1997), 11 mins
Description
Pepino Mango Nance was a class project made under the strict "rules" of CNTV 508 (at USC). The rules of the class were: the film had to be non-sync 16 mm, the number of shoot days could not exceed 10, the shooting ratio could not be more than 1:3, only two sessions of 4 hours each were allowed for the sound mix, and the finished film could not be longer than 400 Feet in length (approx. 11 minutes). Pepino Mango Nance was a class project made at U...
Pepino Mango Nance was a class project made under the strict "rules" of CNTV 508 (at USC). The rules of the class were: the film had to be non-sync 16 mm, the number of shoot days could not exceed 10, the shooting ratio could not be more than 1:3, only two sessions of 4 hours each were allowed for the sound mix, and the finished film could not be longer than 400 Feet in length (approx. 11 minutes). Pepino Mango Nance was a class project made at USC. The rules of the class were: the film had to be non-sync 16 mm, the number of shoot days could not exceed 10, the shooting ratio could not be more than 1:3, only two sessions of 4 hours each were allowed for the sound mix, and the finished film could not be longer than 400 feet in length (approx. 11 minutes). The filmmakers were inspired by Mike Davis's "City of Quartz" and started conducting research about day labor and their own work experiences in the households and businesses of the rich. They met Joseph Julian Gonzales, a second generation Chicano and music composer who was beginning an experimental composition for a string quartet inspired by hawker calls of the vendors of downtown Los Angeles. Most of the street vendors were first generation immigrants-many of them "illegal" from Central America. The film and the developing score influenced each other. In the course of shooting, a close friendship evolved between the filmmakers and Marta-Julia Lemus, the street vendor whose story runs parallel with Joseph's in the film. In the end the film is a complex mix weaving art, politics, law, and culture into 10 minutes, an example of what is possible under very restricted means to other students of film. It also can be used in classroom discussions of immigration, urban America, politics and law as well as providing an inside look at the act of creation.
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Date Written / Recorded
1995
Field of Study
Politics & Current Affairs
Content Type
Documentary
Contributor
Bann Roy, fl. 1993, Gillian Goslinga-Roy, fl. 1996, Marta-Julia Lemus, Joseph Julián González, fl. 1995
Author / Creator
Bann Roy, fl. 1993, Gillian Goslinga-Roy, fl. 1996
Date Published / Released
1997
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Central American, Music composition, Immigration and emigration, Economics, Urban life, Ethnography, Central Americans
Copyright Message
© Documentary Educational Resources
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