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Kate Hennessy - Society for Visual Anthropology

Kate Hennessy

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September 6, 2017

Tenure-track position, Bowdoin College

September 6, 2017 | By | No Comments

Bowdoin College’s Department of Sociology and Anthropology invites applications for a tenure-track faculty appointment in Anthropology at the Assistant Professor level beginning fall 2018. We seek a cultural anthropologist whose research focuses on issues of indigeneity, sovereignty, the environment, and/or media in Native American or other indigenous communities. We are especially interested in candidates whose areas of geographic and topical specialization complement and broaden those now covered in the Department.

We welcome applications from candidates committed to the instruction and support of a diverse student population and those who will enrich and contribute to the College’s ethnic and cultural diversity. We value a community in which students of all backgrounds are warmly welcomed and encouraged to succeed. In your application materials, we encourage you to address how your teaching, scholarship, and/or mentorship may support our commitment to diversity and inclusion.

Bowdoin values a strong commitment to research and a promise of long-term successful scholarly engagement as well as a dedication to teaching excellence in a liberal arts environment. There is internal funding in support of research, a junior sabbatical leave, and an accelerated post-tenure sabbatical schedule. Teaching load is two courses each semester. The successful candidate will teach courses in their areas of expertise and will contribute to the rotation of core courses for the major in Anthropology (including Introduction to Cultural Anthropology; Ethnographic Research; History of Anthropological Theory; and Contemporary Issues in Anthropology, a senior capstone course). A Ph.D. in Anthropology is expected by date of appointment. We recognize that recruiting and retaining faculty may involve considerations of spouses and domestic partners. To that end, where possible, the College will attempt to accommodate and respond creatively to the needs of spouses and partners of members of the faculty.

Bowdoin College accepts only electronic submissions. Please visit https://careers.bowdoin.edu to submit: 1) a cover letter that details your scholarly research agenda and describes your teaching experience; 2) a curriculum vitae; and 3) the names and contact information for three references who have agreed to provide letters of recommendation. Review of applications will begin September 15, 2017.

Founded on the Maine coast in 1794, Bowdoin is one of the oldest and most selective coeducational, residential liberal arts colleges in the country. Located in Brunswick, Maine, a 30-minute drive north of Portland, the College is in an area rich with natural beauty and year-round outdoor activities. Bowdoin’s reputation rests on the excellence of its faculty and students, its intimate size, its strong sense of community, and its commitment to diversity (31.5% students of color, 5% international students and approximately 15% first-generation college students). Bowdoin College complies with applicable provisions of federal and state laws that prohibit unlawful discrimination in employment, admission, or access to its educational or extracurricular programs, activities, or facilities based on race, color, ethnicity, ancestry and national origin, religion, sex, sexual orientation, gender identity and/or expression, age, marital status, place of birth, genetic predisposition, veteran status, or against qualified individuals with physical or mental disabilities on the basis of disability, or any other legally protected statuses. For further information about the College please visit our website: http://www.bowdoin.edu.

Kate Hennessy

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August 25, 2017

Call for Film Projects for the AAA Film Pitch Workshop

August 25, 2017 | By | No Comments

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?

Due to the enormous success of the 2016 Pitch Session, we are once again convening a Film Pitch Workshop at the 2017 Annual Meeting.  Please join us for the 2nd Annual Society for Visual Anthropology Film Pitch Workshop, December 1st from 1-5 PM.

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

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.

Preselected filmmakers will give a 10 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.

The goals of the workshop are:

  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 are to be announced.

Two Ways to Participate
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 to Alice Apley by October 15, 2017. The organizers will select a mix of experienced to first-time filmmakers.
NONPITCHING WORKSHOP PARTICIPANTS: As a workshop participant, you can observe the pitches, get ideas for projects, join the discussion about the projects in progress, learn from the pitches, 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 or Sarah Elder.

Kate Hennessy

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May 4, 2017

Announcing the 2017-2018 SVA/Robert Lemelson Fellows!

May 4, 2017 | By | No Comments

Congratulations to our inaugural cohort of the SVA/Robert Lemelson Foundation Fellows! 

  • Donagh Coleman (UC Berkeley, joint UCSF program), “Tudam Death and the Tibetan Ontological Body”
  • Saudi Garcia (New York University), “Visualizing Dominican Blackness: Digital Media Infrastructure and Insurgent Black Consciousness in Santo Domingo”
  • Camilo Leon-Quijano (Ecole des Hautes Etudes en Sciences Sociales), “Photographic Commitment: Exploring Rugby-women’s Empowerment Through Multimedia Approaches”
  • Page McClean (University of Colorado, Boulder), “Conectividades: The Social Life of Chile’s Southern Highway”
  • Steve Moog (University of Arkansas), “Behind the Scene(s): Collaborative Visual Ethnography in Indonesia’s Do-it-yourself Punk Rock Scene”
  • Reese Muntean (Simon Fraser Univesity), “Virtual Reality Documentation of Salak Yom: Crafting 3D & Virtual reality Applications to Communicate Traditional Knowledge & Cultural Values”
More information on the SVA/Robert Lemelson Foundation here: LINK
Kate Hennessy

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March 3, 2017

2017 SVA Film and Media Festival Call for Submissions

March 3, 2017 | By | 2 Comments

The Society for Visual Anthropology’s Film & Media Festival screens work by students, professional anthropologists, and professional filmmakers at the American Anthropological Association’s annual conference.

The Festival jury, comprised of anthropologists and film scholars, selects work to be included in the Festival on the basis of anthropological relevance and value to the field. Low budget and shorter works receive as careful attention as high budget or longer works. The SVA may bestow a number of awards each year, including the Festival’s highest recognition, the Joan S. Williams Award of Excellence, named for the Festival’s longtime organizer who retired in 2006. An award for Best Student Work is awarded annually and the Jean Rouch Award may be given for collaborative and participatory work.

If you wish to submit a production please visit: SVA on FilmFreeway

For more information, please contact:
SVAFilmFestival@gmail.com

2017 Festival Co-Directors:
Kathryn Ramey (kathryn_ramey@emerson.edu)
Ulla D. Berg (uberg@rci.rutgers.edu)

Kate Hennessy

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December 22, 2016

Announcing Writing with Light – an anthropological photo-essay initiative

December 22, 2016 | By | No Comments

Writing with Light is an initiative to bolster the place of the photo-essay—and, by extension, formal experimentation—within international anthropological scholarship. As a collaboration between two journals published by the American Anthropological Association (AAA), Cultural Anthropology and Visual Anthropology ReviewWriting with Light is led by an editorial/curatorial collective that aims to address urgent and important concerns about the sustained prominence of multimodal scholarship and how that changes what anthropologists can and should see as productive knowledge. This initiative addresses as a central concern the development of appropriate criteria for evaluating these forms of multimodal scholarship. By focusing on the singular form of the photo-essay, we aim to interrogate the synergistic combination of images and words, while also considering the photo-essay’s narrative affordances and its capacity to go beyond storytelling. In sum, we believe that focused attention on the photo-essay might help us to rethink a broader array of anthropological questions regarding issues of mediation, representation, methodology, etc. and and potentially shift how anthropologists conceive of the discipline itself

For submission guidelines, please visit: https://culanth.org/photo_essays
Kate Hennessy

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September 23, 2016

Ohio University, Tenure-track Position

September 23, 2016 | By | No Comments

The Department of Sociology and Anthropology at Ohio University invites applications for a full-time, tenure-track Assistant Professor of Anthropology in cultural anthropology with specialization in visual and media anthropology. Geographical area is open. Ideal candidates will conduct research that is theoretically and ethnographically innovative and will be committed to excellence in undergraduate teaching. The successful candidate will be expected to teach upper-level courses in Ethnographic Methods and Anthropological Theory and their areas of expertise, as well as Introduction to Cultural Anthropology. The successful candidate will be expected to develop and strengthen program resources and opportunities relating to museum studies, including building connections with museum programs and institutions on campus and in the community. The position start date will be August 2017.

Housed in the Department of Sociology and Anthropology, the Anthropology Program (www.ohio.edu/socanth/anthropology/) consists of 7 full-time faculty and approximately 100 majors, and maintains a core focus on public engagement and outreach across the subfields. This focus provides opportunities for undergraduate students through community-based research and learning such as internships, field schools, independent research projects, and study abroad opportunities. Anthropology faculty teach 2 courses per semester. Ohio University (http://www.ohio.edu/) is a Research Extensive institution that serves more than 20,000 students on a residential campus in Athens, Ohio, a college town seventy-five miles southeast of Columbus, Ohio.

To apply online, go to http://www.ohiouniversityjobs.com/postings/20405 and submit a letter of application; curriculum vitae; research statement and one representative scholarly publication (attached as combined pdf file under “Research Interest”); statement of teaching philosophy; evidence of teaching effectiveness including recent teaching evaluations and two sample syllabi (attached as a combined pdf file under “Other” document type); and contact information for three professional references. Letters of recommendation will be requested after an initial screening of candidates to minimize inconvenience to applicants and referees.

Ph.D. in Anthropology is required by the start date. Review of application materials will begin on October 16, 2016 and the position will remain open until filled. For full consideration, please apply by October 31, 2016. Questions may be directed to Haley Duschinski, Search Committee Chair, at duschins@ohio.edu. All positions require final university approval.

Ohio University is committed to creating a respectful and inclusive educational and workplace environment. Ohio University is an equal access/equal opportunity and affirmative action employer with a strong commitment to building and maintaining a diverse workforce. Women, persons of color, persons with disabilities, and veterans are encouraged to apply. Ohio University is a member of the OH/Western PA/WV Higher Education Recruitment Consortium. www.ohwpawvherc.org.

Kate Hennessy

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August 14, 2016

Funded Fellowships, Filmmakers Without Borders

August 14, 2016 | By | No Comments

FILMMAKERS WITHOUT BORDERS is offering fully-funded Fellowships for visual anthropology work in Bhutan.

FILMMAKERS WITHOUT BORDERS is a 501c3 nonprofit organization that provides fully-funded overseas fellowships to filmmakers/art educators to teach filmmaking, media literacy, and technology to underserved students in Africa, Asia, & Latin America.

– Live and teach in Thimphu, Bhutan for 10-12 months
– Teach filmmaking, media literacy, & 21st century technology skills to students for ~25 hours/week
– Shoot/edit x10+ video vignettes
– Shoot/edit x2 short film projects

– Flights provided
– Housing provided
– Food provided
– Equipment provided

– Other Fellowships: Bangladesh, Cambodia, Honduras, India, Morocco, Navajo Nation, Nepal, Tanzania, Thailand

Apply at developingfilmmakers.org by September 15th.

 

Kate Hennessy

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July 27, 2016

VAR SUPPLEMENTS: David Kloos on Future Archives and Everyday Life in Indonesia

July 27, 2016 | By | No Comments

Classroom Activities and Discussion Questions   

David Kloos’s “Living in a Makeshift World: Mobility, Temporariness, and Everyday Life in Indonesia” (VAR 31-2, Fall 2015) uses images from Recording the Future (RtF): An Audiovisual Archive of Everyday Life in Indonesia to analyze the experiences and agencies of domestic migrants in Indonesia. The following set of questions and resources provide teaching tools for use in both graduate and undergraduate courses.

Questions for classroom discussion
Content

  1. How does internal migration change Indonesian society? How do social, economic and political changes, including the forces of globalization, change the practices and experiences of internal migrants?
  1. Is it useful to call Indonesian domestic migrants a class, or – in the words of Johan Lindquist – part of the Indonesian “underclass”? Why (not)?
  1. What is meant with the concept of “everyday life”? How does it differ from other approaches, within anthropology and other disciplines? Do you find the concept useful as an analytical category? Why (not)?

Methods

  1. What information does RtF provide about the lives and positions of internal migrants? How does this information differ from other (oral or textual) types of information, as provided, for example, in policy reports or (written) ethnographic descriptions? What are the limitations of verbal/textual and visual sources?
  1. What can visual sources – and the rich information it contains about dress, built environment, the use of (public or private) space, material objects, and body language – tell us about the expression, salience or relative (in)visibility of class?
  1. What can a resource like RtF tell us about processes of place-making, in Indonesia and elsewhere? More generally, what do you think visual images can tell us about the social relations and meanings involved in the imagination, demarcation, or “making” of particular places (a neighborhood, a village, a house or compound, a harbor, a marketplace, shop or a restaurant, and so forth)?
  1. What are the various levels of mediation in RtF? In your opinion, how should a scholar working with this (or similar) material in order to engage in scholarly analysis, deal with its mediated nature?
  1. RtF – and related projects like the British Mass Observation project (see below) – seek to record or register aspects of human life that are generally seen as self-evident or “ordinary,” and thereby (apparently) unimportant. Can you think of aspects in your own society, that are so ordinary that no one every seems to record it or give it much thought? Would it be worth your or anyone’s while to film or write about it? What if it is forgotten? Would this be bad? Why (not)?
  1. Technology is changing fast. Around the world, many or most people have a mobile phone with a built-in camera and an internet connection. How should this affect longitudinal projects like RtF? Is it still necessary to make these systematized recordings? Is a resource like RtF gradually replaced or made unnecessary by online video archives like Youtube? Why (not)?
  1. What role does sound play in an audiovisual archive like RtF? In the videos, what kind of sounds do you hear? Would it be useful to focus the analysis on sounds, rather than images? What kind of questions might be asked?

Modes of representation

  1. What are the advantages of combining text and image in scholarly analysis? Should there be a hierarchy, or not? How can text engage with image and the other way around? Does it require a particular “writing” style? Does it require particular tools?

Additional information about Recording the Future, sources of inspiration and possible comparisons

For more information about Recording the Future and its various products, see the project website, and this essay by project coordinators Henk Schulte Nordholt and Fridus Steijlen. For more clips from the archive, see the RtF Youtube channel.

Important sources of inspiration for RtF, also useful for discussion in class, are Mass Observation (1937-present, currently housed by the University of Sussex) and Michael Apted’s UP Series (see, among others, this useful debate in Ethnography), with the main difference that RtF follows places rather than people. Recording the Future can also be contextualized in a more recent trend of sensory ethnography projects; See a brief discussion here.

Additional products and related questions

The film “Don’t forget to remember me” (Fridus Steijlen and Henk Schulte Nordholt, 2008) features “a day in the life of Indonesia.”

Questions:

  1. According to one reviewer, the choice on the part of the directors to minimize (textual) context and let the images speak for themselves is both a strength and “a major weakness”? What is your opinion?
  2. This film has been used on multiple occasions for educational purposes, evoking radically different responses. Some viewers appreciated it for its insights and critical approach. Others judged it as “neocolonial.” How can we explain these divergent assessments? What elements in the film might account for these respective judgments?
  3. How does this film compare to Ridley’s Scott/Youtube’s “Life in a Day”?

The documentary “Being prominent in Indonesia,” (Ahmad Baihaki and Fridus Steijlen, 2011) is a portrait of Ibu Mooryati Soedibyo, an influential Indonesian business woman and politician. As, generally speaking, RtF is biased toward the lives of less affluent people, this film shows another, less prominent side of the archive.

Questions:

  1. The article “Living in a Makeshift World” looks at the vocabulary of makeshift, as embedded in senses of transience, improvisation and future dreams and aspiration. How does Ibu Mooryati’s choice of words compare to this? Does it communicate a different kind of temporality?
  2. What kind of spaces does Ibu Mooryati inhabit or use? How are these spaces connected and/or separated from the public spaced inhabited by less affluent people? What information does RtF provide with regard to the (possible) physical interactions between different social classes in contemporary Indonesia?

The short film “A day in the life of a mall,” (Andy Fuller, 2011) makes use of (embedded) written citations in order to make an argument. What do you think of this method? Is this a good way to construct a (scholarly argument on the basis of these images? Why (not)?

Kate Hennessy

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July 27, 2016

VAR SUPPLEMENTS: Monique Scott on reframing anthropology exhibitions for contemporary audiences

July 27, 2016 | By | No Comments

Monique Scott from Visual Anthropology Review on Vimeo.

Monique Scott’s video interview about her review, “White Walls, ‘Black City’: Reflections on “Exhibition as Residency—Art, Anthropology, Collaboration” (VAR 30-2, Fall 2014), which discusses efforts to resuscitate the image of the anthropology exhibitions for contemporary audiences. Her review specifically considers the exhibition organized by Ethnographic Terminalia at the Arts Incubator in Washington Park, South Chicago, in 2013.

Kate Hennessy

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July 27, 2016

VAR SUPPLEMENTS: Jennifer Hubbert on the Iconicity and reappropriation of Tank Man

July 27, 2016 | By | No Comments

Jennifer Hubbert from Visual Anthropology Review on Vimeo.

Jennifer Hubbert’s video interview about her article “Appropriating Iconicity: Why Tank Man Still Matters” (VAR 30-2, Fall 2014), which explores the reappropriation of iconic photographs, examining what happens when the iconic “Tank Man” image is modified and repurposed to new political ends.

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