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Aynur Kadir - 2/3 - Society for Visual Anthropology

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November 10, 2016

A PITCH SESSION FOR ETHNOGRAPHIC FILMMAKERS: DEVELOPING YOUR STORY, INTEGRATING YOUR RESEARCH, FINDING FUNDING AND DISTRIBUTION

November 10, 2016 | By | No Comments

REGISTER NOW for NEW SVA WORKSHOP at AAA!

THURSDAY, 11/17, 1 – 5pm, SVA WORKSHOP # 3-0700

Are you interested in using film for conveying your anthropological research or reaching new audiences? Watch others pitch their projects, think about your own film, learn strategies for funding and distribution and join the discussion.

 

Workshop: A PITCH SESSION FOR ETHNOGRAPHIC FILMMAKERS:

DEVELOPING YOUR STORY, INTEGRATING YOUR RESEARCH, FINDING FUNDING AND DISTRIBUTION

 

Six filmmakers have been selected from an open call to pitch their work-in-progress to a jury of funders, distributors and award winning filmmakers. Following a seven minute pitch, each filmmaker will receive feedback from the jury and audience on the effectiveness of the pitch and the substance of the film project – including strategies for visualizing anthropological content and suggestions for developing narrative and structure. Jury and audience awards will be given.

Following the Pitch session, Leslie Aiello, from the Wenner-Gren Foundation will make a brief presentation about the Fejos Ethnographic Film Fellowship.

To participate, you must register for workshop #3-0700; $20 student, $40 nonstudent

JURY

Alice Apley, Executive Director, Documentary Educational Resources (DER)

Sarah Elder, Director, DRUMS OF WINTER; Prof. Doc. Film, SUNY Buffalo

Seth Kramer, Director, THE ANTHROPOLOGIST, Ironbound Films

Camilla Nielsson, Filmmaker/Anthropologist, Director, DEMOCRATS

PITCHING PROJECTS

THE BURNING: AN UNTOLD STORY FROM THE OTHER SIDE OF THE MIGRANT CRISIS

Writer/Director/Producer/Editor – Isabella Alexander

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Synopsis – This character-driven documentary follows the journeys of Phino, Yasmineno, and a boy called Bambino. It invites audiences inside a hidden refugee crisis unfolding on the other side of Europe’s borders. Morocco is the primary crossing point for all Africans fleeing war and poverty in their home countries, but for the past decade, Europe has been working against international human rights conventions to mold Morocco into the final destination for all African migrations north. Brutally beaten back by guards at every attempted crossing, hundreds of thousands who have burned their pasts in hopes of a better future now find themselves trapped only miles from their dream.

 

»PLAGUE OVER DENMARK«

An ethnographic film about radicalization, contagion, and healing with Danish Muslims at the Grimhøj-mosque

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Directed by: Christian Suhr

Produced by: Persona Film / Eye & Mind

Synopsis: Between 2009-2012 I studied and filmed the healing practices of Muslims in my hometown Aarhus, Denmark, not knowing that only few years later the community would be described by politicians at the highest level of government as “a plague over Denmark,” “a dark Islamic force,” “a violence- and death glorifying cult,” “who preaches messages about hatred,” and who “spreads messages which aim at undermining our democracy.” This film is about the spread of hatred and fear; about conversations that should be possible, but seem increasingly impossible; and about how Feisal, Abu Bilal, and Abu Hassan—three of my closest informants—manoeuvred through the last seven years of escalating religious and political turmoil.

 

THE MAKING OF A KING

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Director/Producer: Nicole Miyahara

Synopsis: The Making of a King explores the relatively unknown subculture of drag kings in Los Angeles during the height of drag queen popularity. Although drag queens are widely known and largely accepted, drag kings are also artists who question gender and notions of societal norms with their performances. They are fighting for equal pay and showtime within their own drag community.

 

BADZU VILLAGE

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Director: Tami Blumenfield

Synopsis: In southwest China’s Na villages, families that once stayed together in matrilineal, multigenerational households are now splintering into multiple smaller family units. Many family members spend time working outside these villages, a phenomenon that creates numerous tensions and challenges for the younger generations as they strive to find their own path. Badzu Village explores how members of one family are navigating this shifting terrain, drawing on close relationships between the anthropologist-filmmaker and several generations of women in the family to offer a deeply personal window into their lives.

 

MIGRANTI DI DENTU, MIGRANTI DI FORA (MIGRANTS FROM WITHIN, MIGRANTS FROM AFAR)

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Director: Francesco Dragone, Produced by Awen Films in collaboration with Kriolscope

Synopsis: Migranti is an ethnographic documentary examining complex issues of race, class and belonging in the context of migration in and from Cabo Verde. By following the stories of three migrants, Evandro a Cape Verdean fisherman who migrates from Fogo Island to Santiago Island, Mamadou, a Senegalese who settles in Cabo Verde working as a tailor and Alcindo, a native from Praia, the capital city of Santiago Island who migrates to the US in search of better life conditions, this documentary attempts to analyze their crisscrossing migratory routes.

 

 

TO LOVE A RAT

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Producer/Director: Darcie DeAngelo

Synopsis: This project portrays the story of explosive detection rats and their handlers learning to de- mine. It takes place in Cambodia, a country contaminated with millions of landmines and follows an underfunded NGO, APOPO, that implements rats as new biological technologies for landmine detection. The videos reveal the process of learning a new technology when the technology in question is an unpredictable and, sometimes unwilling, animal. The project’s significance lies in its story of co-species learning and friendships when stakes are fatally high.

 

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October 25, 2016

Master Class & Workshop with Director Camilla Nielsson (4-0320)

October 25, 2016 | By | No Comments

Master Class & Workshop with Director Camilla Nielsson

Friday November 18, 9:00 am-12:00 pm

 Location: Minneapolis Convention Center, Room: 205B
Abstract:
The Society for Visual Anthropology (SVA) is offering for the first time a “master class”/workshop for students and early career filmmakers. Inaugurating what the SVA hopes will be an annual event, the master class/workshop will this year be offered by Camilla Nielsson (Upfront Film, Denmark), anthropologist and director of the award-winning documentary “Democrats” (2014). Nielsson will give a 2-hour master class on documentary filmmaking strategies, including concept, story and development, production and postproduction, and how best to convey anthropological intent throughout the filmmaking process and final product. The master class will be open to both SVA and non-SVA members in the early career or student category.
Learning Objective 1:

develop film ideas and concepts with anthropological intent that work!

Learning Objective 2:

evaluate the pros and cons of different filmmaking strategies for particular project settings.

Learning Objective 3:

plan out high end ethnographic and documentary film work with a low end budget.

Organizer
Ulla Dalum Berg (Rutgers University, New Brunswick)
Email: uberg@rci.rutgers.edu

Organizer
Stephanie Takaragawa (Chapman University)
Email: stephanie.takaragawa@gmail.com

Presenter
Camilla Nielsson (Upfront Films)
Email:cn@upfrontfilms.dk
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October 21, 2016

Multimodal Ethnography and the Possibilities for Engaged Anthropology

October 21, 2016 | By | No Comments

In our scholarship, we strive to strike a balance between anthropological theory-building and social engagement. To do so we use digital technology – inexpensive cameras and social media platforms – in our respective ethnographic projects. Our turn to the digital began during graduate school when we, along with faculty and fellow graduate students, imagined and developed camra. camra is a University of Pennsylvania organization dedicated to multimodal and community engaged research. Here we briefly discuss the ways in which digital technologies provide avenues toward achieving a more collaborative and engaged anthropology. Collaboration has been part and parcel of our discipline since its inception. The digital offers a way to explicitly broaden the scope of collaborative engagement in ways that allow not only for greater participant involvement but also to foster cross-disciplinary projects that put anthropologists in conversation with colleagues in the academy and beyond who grapple with the pressing issues of our time.

Taken from Sweet Tea, portraying E. Patrick Johnson’s performative work on the lives of Black Gay men in the South and his long term relationships with them (2015).
Sweet Tea, portraying E. Patrick Johnson’s performative work on the lives of Black gay men in the South and his long term relationships with them. Photo courtesy Nora Gross

camra was launched in 2011 as a forum connecting graduate students with established scholars interested in legitimizing non-textual production. Our small collective first organized a speaker series followed by a media festival at UPenn that celebrates scholarship at the intersection of ethnography and the audio-visual.  As we developed camra, Philadelphia community-based organizations were eager to learn, partake in and integrate our digital approach to knowledge production. Various institutional actors within and outside of the University of Pennsylvania reached out to us to see if camra members were interested in partnering to create audio-visual work. Projects emerged that allowed camra members to experiment with a digital methodology before they began their dissertation work.

From Dattatreyan’s collaborative film project, Cry Out Loud: Hafes is getting to know the equipment on a wintry day in Delhi (2013).
From Dattatreyan’s collaborative film project, Cry Out Loud: Hafes is getting to know the equipment on a wintry day in Delhi.Photo courtesy E. Gabriel Dattatreyan

In 2013, two camra members developed a filmic and photographic essay on the after-effects of an asbestos plant in Ambler, Pennsylvania (Tarditi and Zuberi). camra members also worked with the Penn School of Design and the Ward to create two short oral history films about Tindley Temple Church, one of the oldest Black Methodist churches in Philadelphia. Other projects that emerged include an HBO-funded short documentary series, two experimental metafilms featuring the travels of a Rastafarian community in South Africa, a PEW-funded film on scientific racism and the Morton Skull collection, the film project Sweet Teabased on E. Patrick Johnson’s performative scholarship concerning the lives of Black gay men in the south and a curated installation in collaboration with Ethnographic Terminalia.

Shankar with students as they begin participatory photography project (2013).
Shankar and students’ participatory photography project. Photo courtesy Naveen Kumar

camra influenced each of our unique audio-visual ethnographic projects as well. In 2012, Dattatreyan began an ethnographic project in Delhi, India with young migrants who were coming of age in an era of post-economic liberalization. He produced several music videos with his youthful participants as well as a feature length film with a group of young Somali refugees, focusing on the racialization of Africans who make the city their home. They screened the film at Khoj Arts in South Delhi to a large audience soon after a series of violent racialized incidents against Africans living in South Delhi. The screening fostered a dialogue around the politics of difference amongst a broad spectrum of South Delhi’s residents. Dattatreyan’s forays into audio-visual projects enabled participant driven ethnographic opportunities, created public discussion around pressing social issues and have fostered ongoing collaborative projects with Delhi based artists and academics around the growing salience of race and racism in urban India.

In 2013, Shankar began research in Bangalore, India working with both NGO personnel and rural youth to understand the changing nature of development. He conducted a participatory film and photography project intended to complicate simplistic representations of village life. Youth in one field site worked in groups of three to articulate what they found curious about their rapidly changing lives. They effectively reversed a dominant gaze that traditionally saw them as impoverished, deficient, and “in-need-of-development” through their playful performances on and off-screen. The collaboration also produced a traveling photography exhibit mounted at their school as well as several university contexts. Shankar’s theoretical insights were heavily influenced by these visual co-productions and shifted how he articulated ideas of aesthetics, auteurship and value.

From Shankar’s participatory photography project: Naveen, ninth standard student, takes shadow selfie against the backdrop of his home (2013).
Naveen, ninth standard student, takes shadow selfie against the backdrop of his home. Photo courtesy Naveen Kumar

Both camra and our work parallel the multimodal turn in anthropology. Ethnography, as a method by which to understand and engage the world, creates opportunities for collaborative knowledge ventures. We suggest that the digital image is opening the aperture of social life in a way not seen before. What we once perceived as bound and local is now clearly saturated with global connection. Here we use aperture and saturation to point to the relationship between the ways we see as anthropologists and the choices we make when we take photographs or film. What our work with camra has pushed us to confront is how our discipline should grow as we explicitly and consciously open its aperture in a media saturated world and strive to consciously integrate ways of seeing that challenge disciplinary understandings while engaging with the pressing problems plaguing our world. Given this, perhaps the question at hand is how we might open the aperture of anthropological knowledge without risking oversaturation. One answer, suggested here, is to consciously integrate the digital into our anthropological imagination, both as theory and practice, an approach that attends to global circulation, audience, collaborative praxis and the ethical and engaged possibilities therein.

 

 

camra members included above are Sandra Ristovska, Emily LaDue, Kate Zambon, Mariam Durrani, Matt Tarditi, Jabari Zuberi, Tali Ziv, Corrina Laughlin, E. Gabriel Dattatreyan, Nora Gross, Arjun Shankar, Andrew Hudson, Melissa Skolnick

Jens Kreinath and Jennifer Reynolds are the editors for the Society for Visual Anthropology

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October 13, 2016

Workshop Announcement and Call for Participants

October 13, 2016 | By | No Comments

A PITCH SESSION FOR ETHNOGRAPHIC FILMMAKERS: DEVELOPING YOUR STORY, INTEGRATING YOUR RESEARCH, FINDING FUNDING AND DISTRIBUTION   (3-0700)

Workshops

Thursday, November 17

1:00 PM – 5:00 PM

 Are you currently working on a film? Are you interested in getting feedback?
Are you interested in ethnographic film production but not yet ready to share a project in progress?
 Please join us at the AAA for a new Society for Visual Anthropology workshop:

This workshop uses the pitch format of documentary film festivals in which filmmakers pitch their work-in-progress to a jury of funders, distributors and award winning filmmakers. For each film presented, the jury will provide feedback including strategies for visualizing anthropological content and suggestions for developing your narrative and structure. Other discussion topics include conceptualizing your audience, and opportunities and strategies for funding and distribution.

Pre- Selected filmmakers will give a10 minute presentation of their project, that includes a description of the story, themes, research, visual style, plans for completion and a short video sample. Our workshop format is intended to encourage lively discussion between jurors, other workshop participants and the presenting filmmakers. Discussion will address both the effectiveness of the pitch and the substance of the film project. Jury and audience awards. The goals of the workshop:

  1. To model how to present a film project to potential collaborators, funders & distributors.
  2. To provide concrete strategies for turning research into visually compelling stories.
  3. To direct participants to funding and distribution opportunities.

Pitch jurors include:

Camilla Nielsson, Filmmaker/Anthropologist, Director, DEMOCRATS

Sarah Elder, Director, DRUMS OF WINTER: UKSUUM CAUYAI, SVA Film Festival Juror, Prof. of Documentary Film, SUNY Buffalo

Alice Apley, Executive Director, Documentary Educational Resources (DER)

Following the Pitch session, Leslie Aiello, from the Wenner-Gren Foundation will make a brief presentation about the Fejos Ethnographic Film Fellowship.

Two ways to participate in this workshop

PITCH YOUR PROJECT: Whether your project is in development, production, or in rough cut stage, this is an opportunity to get feedback on your work-in-progress from a jury with expertise in anthropological filmmaking, funding and distribution. Seven filmmakers (or filmmaking teams) will be selected to pitch projects. Those interested in presenting their film project should send a brief Pitch Proposal (see below) to Alice Apley (alice@der.org) by OCTOBER 21, 2016. The organizers will select a mix of experienced  to first-time filmmakers.

NONPITCHING WORKSHOP PARTICIPANTS: As a workshop participant, you can observe the pitches,join the discussion about the projects in progress, learn from the pitches, get ideas, and plan for a future visual project.

Pitch Proposal – If you are interested in pitching, send a one-page description of your project and a video sample. It should include:

  • Short synopsis describing the significance of the project, brief discussion of the issues, themes and story you will explore, and the visual style of the film (e.g. observational, experimental documentary etc).
  • Your bio, including your unique qualifications for completing this project successfully, such as knowledge, skills, access or history of involvement with the characters and/or subject matter.
  • Please also include a short status report describing where you are in the research, development and/or production process, what work has been completed and a brief timeline.
  • Production-related photo (optional).

Also send a trailer, teaser, or clips via a single streamable link of film footage or visuals (still or moving). (7 minutes maximum)

For questions, email Alice Apley, alice@der.org or Sarah Elder, selder@buffalo.edu

Aynur Kadir

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June 1, 2016

Ethiraj Gabriel Dattatreyan on Self-Fashioning and Collaborative Ethnography in the Digital Age

June 1, 2016 | By | No Comments

VAR SUPPLEMENTS 2016

VAR 31-2

Ethiraj Gabriel Dattatreyan on Self-Fashioning and Collaborative Ethnography in the Digital Age

VAR SUPPLEMENTS: Classroom Activities and Discussion Questions

Ethiraj Gabriel Dattatreyan’s “Waiting Subjects: Social media inspired self-portraits as gallery exhibition in Delhi, India” (VAR 31-2, Fall 2015) collaboratively curates an ‘accidental’ archive of digital image-making practices by young Somali refugees in India as the site where subjectivities are self-fashioned and ethnographic insights emerge.

Keywords: photography, ethnography, selfie, Somalia, Delhi, photovoice

 

Suggested study questions and activities

Designed for undergraduate and graduate students to address key methodological questions about collaboration and digital affordances.

 

Collaboration: Discussion and/or writing exercise (students spend 10 minutes writing a quick response to the following question).

  • What does collaboration mean to you? How does this concept fit with the ethos of ethnography? How has a collaborative or shared anthropology been imagined? Is ethnography already always collaborative by the nature of its engagement? If so, what does an explicitly shared or collaborative ethnography imply and entail?
  • How might digital technologies reinvigorate, and yet, complicate the possibility for creating collaborative ethnographic projects? What sorts of opportunities/challenges do digital infrastructures (social media, smart phones, digital audio-video technology) create with regard to collaborative ethnography?
  • In the VAR article, “Waiting Subjects,” how does the Dattatreyan utilize the social media inspired photographs of his participants as an ethnographic site?
  • What does the author argue are the limits of these photographs?

 

Shared Anthropology: Assigned film viewing, with discussion and/or writing exercise. Watch this video of Jean Rouch discussing the future of visual anthropology: https://www.youtube.com/watch?v=PvyXCpzpJJs

  • Jean Rouch was one of the pioneers of a shared anthropology that utilizes audio-visual technology. Why do you think he argues that the easily available, inexpensive digital video cameras in our moment aren’t ‘real’ cameras? How does this sentiment impact how we might imagine collaboration in the digital age? What do you think John Rouch would say about the author’s investments in the digital practices of his interlocutors in the field?

 

Social Media: Social media exercise. Read this short primer on “Why we are all digital anthropologists” by Olivia Bellas: http://www.cnn.com/2013/05/29/opinion/mystreet-digital-anthropology/ . Students use social media to find short videos or photographs shot by non-experts.

  • Following Bellas, what do you think of this idea that ‘everyone’ is now an anthropologist with the advent of digital technology?
  • Regarding the virtual artifacts collected from social media, are these objects ethnographic? Why or why not? What can we know from the objects you have retrieved? What remains unknown?

 

 

Additional readings:

Lassiter, Luke Eric (2005). Collaborative Ethnography, Public Anthropology. Current Anthropology 46 (1) pp. 83-106.

 

Boellstorff, Tom (2012) Rethinking Digital Anthropology in Heather A. Horst and Daniel Miller (eds.). Bloomsbury Press. http://www.socsci.uci.edu/~tboellst/bio/Rethinking.pdf

 

Pink Sarah, Horst, Heather, Postill, John, Hjorth, Larissa, Lewis, Tania, Tacchi, Joe (2015) Digital Ethnography, Principles and Practice. Introduction. https://www.academia.edu/18841210/Ethnography_in_a_Digital_World

 

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May 27, 2016

Zoe Bray on “Anthropology with a Paintbrush”

May 27, 2016 | By | No Comments

Zoe Bray on “Anthropology with a Paintbrush”

VAR SUPPLEMENTS: Classroom Activities and Discussion Questions

Zoe Bray’s “Anthropology with a Paintbrush: Naturalist-Realist Painting as ‘Thick Description‘” (VAR 31-2, Fall 2015) advances the practice of naturalist-realist portrait-painting as an under-explored method and medium of visual anthropology where slow-paced observations and interaction provide opportunities for making “thick descriptions” on canvas.

Suggested study exercises and questions

  1. Exercise: Take a drawing tool (charcoal, pencil, crayon, or paintbrush..) and paper, and spend about 20 minutes drawing an object of your choice in front of you (this could be simply a cup or a book. Ideally place it in natural light, rather than under artificial lighting. Sit or stand a meter or so away from it – i.e. Not too close and not too far away. Take breaks from time to time). Reflect on this process of visually studying an object.

How has drawing helped you to understand this object? Did taking breaks help you to see better? What effect did standing closer or further away from the object have?

  1. Repeat the exercise, this time spending a little more time, and drawing another person who is willing to sit for you. It can be a friend or a fellow-student you do not know so well.

What happened during the drawing session? Did you chat? What did you pay attention to? How do you feel drawing helped you to see the person? What new knowledge about the person do you feel you got from drawing her or him? Do you feel you know the person better in some way or other?

  1. Hold a mirror to the side of your face and look into it with the eye closest to it. In the mirror’s reflection you can look at your drawing in reverse.

What can you see in your drawing that you didn’t see before? What do you think of your drawn interpretation of the model? How do you think it could be improved?

  1. Look at videos of different artists drawing or painting other individuals live (or better still: observe artists in action!) Two videos of the author Zoe Bray portrait-painting live: https://www.youtube.com/watch?v=TtI0ia13QgI —and— https://www.youtube.com/watch?v=y_ZnO2Njnz8 .

Think about how the artists see what they see, and what they choose to depict. What do you think they are looking out for? How do you think they are transferring this knowledge onto the paper/canvas? What can you speculate about these artists’ particular individual sensibility, and the role that technical skill plays in their way of depicting?

  1. Sit for someone else.

Think about how the person drawing you is looking at you. How does it feel to be represented? What do you think about the drawing done of you? What do you think the artist/student has ‘captured’ of you? Why? Does having sat for someone else help you in your own drawing? How?

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May 10, 2016

*** LAST CHANCE TO SUBMIT FOR THE MAY 15 LATE DEADLINE***

May 10, 2016 | By | No Comments

2016 Society for Visual Anthropology (SVA) Film & Media Festival – Minneapolis, MN

The Society for Visual Anthropology’s Film and Media Festival invites submissions for its 2016 Festival in the following categories: Ultrashort, Short, and Feature. Please submit your films via Withoutabox.

The Society for Visual Anthropology screens the best ethnographic films and video productions at our annual SVA Film & Media Festival, held in conjunction with the American Anthropological Association (AAA) Annual Meeting. This gives independent filmmakers as well as distributors broad access to a market of several thousand anthropologists and educators.

Ethnographic film and video defined broadly as works created as the result of ethnographic fieldwork or those which use, are informed by, or illustrate the principles of anthropological theory or methods.

For inquiries about this year’s festival in Minneapolis, please contact SVAFMF’s 2016 co-Directors Ulla D. Berg or Kathryn Ramey at svafilmfestival@gmail.com <mailto:svafilmfestival@gmail.com>
For more information about American Anthropology Associations and its annual meetings, please visit:www.aaanet.org/meetings <http://www.aaanet.org/meetings>
For more information about the Society for Visual Anthropology, please visit: http://societyforvisualanthropology.org/ <http://societyforvisualanthropology.org/>

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April 20, 2015

Call for the 2015 Taiwan International Ethnographic Film Festival

April 20, 2015 | By | No Comments

Calling All Filmmakers!

The 2015 Taiwan International Ethnographic Film Festival is coming on 2-6 October 2015, to be held at the Wonderful Theatre in Taipei.

Entry submission deadline: 20 May 2015

TIEFF is organized by the Taiwan Association of Visual Ethnography (TAVE), a non-profit organization dedicated to greater public awareness of documentary and ethnographic films.

The central theme of the biennial’s 8th season, “Scenes of Life,” invites audiences to participate in a multicultural investigation of the human experience as told through diverse life stories.

We’re looking to screen films in the following categories:

A) Central Theme: Scenes of Life
Ethnographic films, produced at any time, which tell unique life stories that reveal our shared human experience.

B) New Vision:
Ethnographic films on any subject, completed between 2013 and 2015.

Please send us entries now, or recommend films that you feel the program shouldn’t miss!

Entry form, regulations, and festival info at
http://www.tieff.sinica.edu.tw

Inquiry – Please contact TIEFF at
tieff@gate.sinica.edu.tw

HU, Tai-Li, Festival President
Lin, Wenlin, Vice President
Tsai, Futuru C.L., Festival Director

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April 20, 2015

Call for Co-Editor of “Visual Anthropology Review”

April 20, 2015 | By | No Comments

The Society for Visual Anthropology invites applications for the co-editorship of its journal, “Visual Anthropology Review” (VAR). One of the current co-editors will finish his service to VAR in December of 2015 and SVA seeks an individual to transition into the position of a new co-editor during the Fall 2015 semester.  The typical period for a co-editorship is three years.
If you are interested in applying for the position, please email a letter of intent and a CV to current co-editors Brent Luvaas (luvaas@drexel.edu<mailto:Luvaas@drexel.edu>) and Mark Westmoreland (mark.westmoreland@ims.su.se <mailto:mark.westmoreland@ims.su.se>). Please also direct any questions about the position to Brent Luvaas and Mark Westmoreland.  Applications will be reviewed on a rolling basis, beginning May 1, 2015.

Details about the Position and the Journal

Qualifications of the Co-Editor:

1. A PhD in Anthropology and a background of teaching, research and publishing in fields related to visual anthropology.

2. Proven organizational and editorial skills.

VAR is a biannual academic, peer-reviewed journal that publishes 12-15 articles per year.  The co-editors are assisted by the journal’s film review editor and book review editor, who manage the publication of 15-20 book and film reviews per year.

The Responsibilities of the Co-Editor:

1. Edit the journal under the protocols established by Wiley-Blackwell and the American Anthropological Association.

2. Work with Wiley-Blackwell to maintain the established workflow, to meet the deadlines and copy requirements for two issues per year.

3. Solicit articles and suggest ideas for special issues or articles.

4. Receive articles and manage them through the review process. This involves maintaining records on each submitted article; engaging two reviewers for a “double-blind” peer review for each article; reading the submitted articles and the peer reviews and contacting the authors as to the final decision.

VAR is published by the American Anthropological Association and promotes the discussion of visual studies, broadly conceived. Visual studies include visual aspects of human behavior and the use of visual media in anthropological research, representation, and teaching. We welcome articles, photo-essays, reviews, and commentary on the use of multimedia, still photography, film, video, and non-camera-generated images, as well as on visual ideologies, indigenous media, applied visual anthropology, art, dance, gesture, sign language, human movement, museology, architecture, and material culture.

The journal has produced special issues on topics such as “Ethnographic Filmmaking in China,” “Engaging Visual Anthropology in the Entangled Lives of Species,” “Visual Representations of Aboriginal Australia,” “HIV/AIDS Education and Southern Africa,” and “Visual Latin America.” VAR has an international readership. It publishes work by scholars and artists, academics, and practitioners throughout the world. VAR welcomes work from all subfields of anthropology, as well as multidisciplinary work in the fine arts, and in the sciences and liberal arts.

Brent Luvaas
Assistant Professor of Anthropology
Co-Editor of Visual Anthropology Review
Department of Anthropology
Drexel University
Philadelphia, PA 19104
(215) 571-3660

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March 8, 2015

2015 AAA ANNUAL MEETING: CALL FOR SUBMISSIONS

March 8, 2015 | By | No Comments

The SVA welcomes a variety of individual paper and session proposals for consideration at this year’s Annual Meeting in Denver, Colorado (November 18-22, 2015). The theme for the meeting isFamiliar Strange,” which provides a rich context for exploring the innovative and exciting work conducted under the broad rubric of visual anthropology.

For the 2015 Annual Meeting, the SVA programming committee consists of:

Susan Falls (sfalls@scad.edu) & Fiona P. McDonald (fionamcdonald5@yahoo.ca).

 

Susan and Fiona are more than happy to work with you on your paper, poster, or roundtable sessions. We are happy to assist session organizers with the structuring of their proposals. The SVA encourages innovative formats, including poster sessions, extended screening of visual materials, and fostering more dynamic discussion periods. For all submissions, participants must abide by the AAA rules regarding roles, registration, deadlines, and fees. No exceptions.

 

There a many different ways for members to participate in the AAA meetings through the SVA. All submissions are due April 15, 2015 unless otherwise indicated. The online abstract submission system opens for all proposal types on February 18, 2015.

Here are the types of submissions possible:

Panels and Sessions

Executive Panels   (Due Feb 17: the online application system is currently open) 

Section Invited Sessions (Due April 15) 

Volunteered Sessions (Due April 15)

Other

Individually Volunteered Papers &Posters

Retrospective Sessions

Public Policy Forums

Media Submissions

Special Events

Installations

Section Invited & Volunteered Roundtables

Visit here for a description of each submission type:

http://www.aaanet.org/meetings/presenters/ProposalSubmissionTypes.cfm

 

Most popular SVA submissions categories:

Volunteered Papers/Posters/Roundtables/Sessions – Due April 15, 2015

To submit a session, go to AAA website and follow the links to the call for papers. A session abstract of up to 500 words is required. Meeting registration forms and fees must be submitted for each participant. Submission deadline is 5:00 pm EST (10:00 pm GMT) April 15, 2015. Be sure to indicate if you wish the SVA to review your submission.

 

SVA Sponsored Session Proposals – Due April 15, 2015 online

This includes all paper and poster sessions, roundtable proposals, and individual paper/poster submissions. All Invited Session Proposals (paper or poster sessions) must include a session abstract of up to 500 words and information for all participants (including individual abstracts and any technical needs for your session). Submission will be through the AAA website. We highly encourage anyone planning to submit an invited session proposal to contact us ASAP, ideally by March 1, 2015.

Media SubmissionsDue April 15, 2015
SVA continues to welcome interactive media work and also encourages short work that is under 15 minutes.  DVD formats are acceptable. Submitted materials will not be returned.

Installations – Due April 15, 2015 online through the AAA Programming Committee

Installations invite anthropological knowledge off the beaten path of the written conference paper. Presenters may propose performances, recitals, conversations, author-meets-critic roundtables, salon reading workshops, oral history recording sessions and other alternative, creative forms of intellectual expression for consideration. Selected Installations will be curated for off-site exhibition and tied to the official AAA conference program.

 

2015 SVA Film and Media Festival Submissions – Due April 15, 2015

Contact SVA 2015 Directors:

Ulla Berg (uberg@rci.rutgers.edu)

                 Naomi Schiller (NSchiller@brooklyn.cuny.edu)

The SVA Film and Media Festival encourage the submission of short works (under 30 minutes), feature-length ethnographic films, and interactive media. Awards will be given to the best works in a number of categories, including student films and short films. Festival submissions open February 1, 2015. Early-bird discounts for March 15, 2015. The regular submission deadline is April 15, 2015. Late-deadline is May 1, 2015. Please check the SVA Film and Media Festival Without A Box submission page for complete details (including information on where to send your previews).

https://www.withoutabox.com/03film/03t_fin/03t_fin_fest_01over.php?festival_id=10082

 

SVA Visual Research Conference SubmissionsDue April 1, 2015 online via the SVA Website: www.societyforvisualanthropology.org

Contacts: Tom Blakely (tdblakely@aol.com and copy to tdb5@psu.edu)

                  Andrea Heckman (andreaheckman@earthlink.net)

                  Jerome Crowder (jecrowde@utmb.edu)

The SVA Visual Research Conference provides a collegial environment for the presentation of works-in-progress. This Conference especially emphasizes much interaction among the presenters and an “actively participating audience”, and anyone interested is welcome to attend. The Visual Research Conference will take place November 16-18 (Monday 7pm no-host dinner; Tuesday 9am-6pm, Wednesday 9am-3pm).

Check the SVA website for deadline updates

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