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And Jack G. Shaheen has written extensively about the overwhelmingly negative images of Arabs on television in the West (1988) and in Hollywood films (2001; see also Hart 2001). Making this sort of film is a great gamble that is rarely attempted and even more rarely won. But the best of the ethnographic fiction films, those that are true to the culture, bring to focus the question we have already touched on: Can fiction create truth? In the next chapter we shall return to this question. indb 27 8/21/06 12:47:28 PM ethnogr aphic film matching each chapter with a fiction feature film or television episode such as Mr.

Indb 29 8/21/06 12:47:29 PM ethnogr aphic film There are problems in the Balinese films. Some are purely technical. In the 1930s, Bateson was limited to a clumsy, tripod-based camera without synchronous sound and to relatively short takes. And because of financial concern, he shot most of his footage at 16 frames per second (fps). When the film was edited, it included Mead’s narration and was intended to be projected at 24 instead of 16 fps. The irony is obvious. This filmic report, which is so concerned with natural movement and pace of life, shows the Balinese moving at a pace 50 percent faster than normal.

Over the years since 1946, Rouch made dozens of films, mainly in West Africa, focusing on the Songhay and the Dogon (see the definitive—up to 1999 —filmography in Rouch 2003, 345 – 382). In just a few years around 1960 he made four films that are of extreme importance. One of these films that had not been made in West Africa had the greatest influence on other filmmakers. In 1960, Jean Rouch was working with Edgar Morin, a sociologist, on Chronicle of a Summer (1961). Using the newest portable 16 mm cameras and synchronous sound equipment, Rouch and Morin enlisted several cameramen to help explore the state of mind of people in Paris in a summer when the Algerian War dominated life.

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2.5-555M Regen-Superregen - Radio World


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