Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Television

This pathbreaking collection of thirteen original essays examines the moral rights of the subjects of documentary film, photography, and television. Image makers--photographers and filmmakers--are coming under increasing criticism for presenting images of people that are considered intrusive and embarrassing to the subject. Portraying subjects in a "false light," appropriating their images, and failing to secure "informed consent" are all practices that intensify the debate between advocates of the right to privacy and the public's right to know. Discussing these questions from a variety of perspectives, the authors here explore such issues as informed consent, the "right" of individuals and minority groups to be represented fairly and accurately, the right of individuals to profit from their own image, and the peculiar moral obligations of minorities who image themselves and the producers of autobiographical documentaries. The book includes a series of provocative case studies on: the documentaries of Frederick Wiseman, particularly Titicut Follies; British documentaries of the 1930s; the libel suit of General Westmoreland against CBS News; the film Witness and its portrayal of the Amish; the film The Gods Must be Crazy and its portrayal of the San people of southern Africa; and the treatment of Arabs and gays on television. The first book to explore the moral issues peculiar to the production of visual images, Image Ethics will interest a wide range of general readers and students and specialists in film and television production, photography, communications, media, and the social sciences.

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Made to Be Seen Perspectives on the History of Visual Anthropology (Ed. Marcus Banks & Jay Ruby)

Made to Be Seen: Perspectives on the History of Visual Anthropology

Recopilación de articulos de Jay Ruby

Artículos incluidos / Articles included:

-A Future for Ethnographic Film
-AN ANTHROPOLOGICAL CRITIQUE OF THE FILMS OF ROBERT GARDNER
-SPEAKING FOR, SPEAKING ABOUT, SPEAKING WITH, OR SPEAKING ALONGSIDE - AN ANTHROPOLOGICAL AND DOCUMENTARY DILEMMA
-The Image Mirrored - Reflexivity and the Documentary Film
-Visual Anthropology—Film as a Means of Presenting Man

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Ethnographic Cinema (EC) - A Manifesto/A Provocation

So-called ethnographic films are, in fact, films about culture and not films that pictorially convey ethnographic knowledge. They are produced by professional filmmakers who have little or no knowledge of anthropology and by anthropologists who thoughtlessly follow the dictates of documentary realism.

For a cinema to exist that furthers the purposes of anthropology, the following must occur:

1. EC must be the work of academically educated and academically employed socio-cultural anthropologists. EC can only be a consequence of ethnographic research by trained ethnographers who professionally engage in academic discourse on a regular basis. EC must be an extension of their work as anthropologists, intellectuals and scholars.

2. EC must be avowedly anti-realist, anti-positivist, dissociated from the canons of documentary realism and free to borrow from all forms of cinema - fiction and non-fiction.

3. EC must seek to increase the agency of those imaged with techniques such as multivocality and to reflexively de-center the authority of the maker while at the same time accepting the moral burden of authorship.

4. EC must explore the limits of pictorial media as a means of anthropological expression.

5. If EC is to succeed it, will probably confuse its audience at first. It is therefore essential that its makers be painfully obvious and assist viewers.

6. EC must have modest production values, tiny budgets, low costs for production and distribution if it is to escape the restrictions of the commercial world. EC, therefore, has no economic potential. No one can make a living from its products. It is the act of the scholar seeking to communicate scholarly knowledge.

7. EC must be removed from the economic dictates of public and state television, funding agencies who except a popularly accessible product and distribution companies who must circulate work that produces income. New forms of funding and distribution must be created.

8. EC acknowledges the inadequacy of all film festivals and other venues currently available. It must seek to create screening and discussion environments that emphasize scholarly debate about the contribution these works make to an anthropological discourse.