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240040 SE BM7 FbSE Specialisation in Visual Anthropology: Ethnographic Filmmaking (2024W)
Prüfungsimmanente Lehrveranstaltung
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Participation at first session is obligatory!The lecturer can invite students to a grade-relevant discussion about partial achievements. Partial achievements that are obtained by fraud or plagiarized result in the non-evaluation of the course (entry 'X' in certificate). The plagiarism software 'Turnitin' will be used.
The use of AI tools (e.g. ChatGPT) for the attainment of partial achievements is only allowed if explicitly requested by the course instructor.
The use of AI tools (e.g. ChatGPT) for the attainment of partial achievements is only allowed if explicitly requested by the course instructor.
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
- Anmeldung von So 01.09.2024 00:01 bis Mo 23.09.2024 23:59
- Abmeldung bis Mo 14.10.2024 23:59
Details
max. 25 Teilnehmer*innen
Sprache: Englisch
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
In November, students work on their film and submit the film at the end of the month. There are no classes but all the film crews will have a supervision meeting to discuss a first edit. SR-D is reserved for the course, students can use this space to meet each other and work on their projects.
- Samstag 05.10. 09:45 - 11:15 Hörsaal A, NIG 4.Stock
- N Freitag 11.10. 09:45 - 14:45 Hörsaal C, NIG 4. Stock
- Samstag 12.10. 09:45 - 14:45 Übungsraum (A414) NIG 4. Stock
- Freitag 18.10. 09:45 - 14:45 Übungsraum (A414) NIG 4. Stock
- Samstag 19.10. 09:45 - 14:45 Übungsraum (A414) NIG 4. Stock
- Freitag 25.10. 09:45 - 14:45 Hörsaal C, NIG 4. Stock
- Freitag 08.11. 09:45 - 13:00 Seminarraum D, NIG 4. Stock
- Freitag 15.11. 09:45 - 14:45 Seminarraum D, NIG 4. Stock
- Freitag 22.11. 09:45 - 13:00 Seminarraum D, NIG 4. Stock
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
Art der Leistungskontrolle und erlaubte Hilfsmittel
Assignments to be submitted:
-Preparation - Group formation and selection of a research participant: submit names on Moodle form/email, 0%
-Field visit 1 - Orientation without camera or audio: submit 1 A4 research proposal including informed consent, 0%
-Field visit 2 - Observation with camera and audio: bring two-minute recording to class, 0%
-Field visit 3 - Elicitation and analysis: submit film plan, including storyboard, 20%
-Field visits 4 & 5 to film and editing the film: submit film, plus forms with informed consent and task description, 80%
-Preparation - Group formation and selection of a research participant: submit names on Moodle form/email, 0%
-Field visit 1 - Orientation without camera or audio: submit 1 A4 research proposal including informed consent, 0%
-Field visit 2 - Observation with camera and audio: bring two-minute recording to class, 0%
-Field visit 3 - Elicitation and analysis: submit film plan, including storyboard, 20%
-Field visits 4 & 5 to film and editing the film: submit film, plus forms with informed consent and task description, 80%
Mindestanforderungen und Beurteilungsmaßstab
Minimum criteria
Participation in all the classes is compulsory. A maximum of 1,5 hours can be missed without problems (except the first class). In case of more absences, the student will need to do compensatory work in order to receive a grade (up to a maximum of 3 missed hours, and only in case of a valid reason). In case of more than 4,5 hours of absence, it is no longer possible to complete the course.Participation in all the research assignments is compulsory. In the task description to be submitted with the film, each individual student will be required to share when they visited the field and what else they contributed to the group process. All students in the group are expected to participate in field visits.Assessment criteria
Assessment criteria for the storyboard and the film will be uploaded on Moodle at the beginning of the course. The film will be assessed on 2 levels: A) group outcome (film as a whole); and B) individual outcome of the sound person, the camera person, and the head of editing.The Austrian grading system is used, as follows:
A = 1 (Very Good): 87 - 100%
B = 2 (Good): 75 - 86,99%
C = 3 (Satisfactory): 63 - 74,99%
D = 4 (Enough): 50 - 62,99%
F = 5 (Not Enough): 00 - 49,99%
Participation in all the classes is compulsory. A maximum of 1,5 hours can be missed without problems (except the first class). In case of more absences, the student will need to do compensatory work in order to receive a grade (up to a maximum of 3 missed hours, and only in case of a valid reason). In case of more than 4,5 hours of absence, it is no longer possible to complete the course.Participation in all the research assignments is compulsory. In the task description to be submitted with the film, each individual student will be required to share when they visited the field and what else they contributed to the group process. All students in the group are expected to participate in field visits.Assessment criteria
Assessment criteria for the storyboard and the film will be uploaded on Moodle at the beginning of the course. The film will be assessed on 2 levels: A) group outcome (film as a whole); and B) individual outcome of the sound person, the camera person, and the head of editing.The Austrian grading system is used, as follows:
A = 1 (Very Good): 87 - 100%
B = 2 (Good): 75 - 86,99%
C = 3 (Satisfactory): 63 - 74,99%
D = 4 (Enough): 50 - 62,99%
F = 5 (Not Enough): 00 - 49,99%
Prüfungsstoff
Learning goals
Through the film project, students will deepen their knowledge about visual anthropology:
• obtain technical and practical skills needed to make an ethnographic film;
• learn how to apply certain styles of camera, sound, and editing that have been developed in the field of visual anthropology;
• learn how to apply ethnographic research practices of observation, participation, reflexivity, and research ethics in a filmmaking project;
• since filmmaking is inherently collaborative: reflecting on modes of collaboration in an ethnographic film project, both within the crew and with the research participant.Through the classes and assignments, students will also:
• consider more deeply how certain technical and aesthetic choices in camera/sound/ editing may express certain theoretical and methodological approaches in anthropology,
• develop their own view on the role of audio-visual media practices in anthropological research.
Through the film project, students will deepen their knowledge about visual anthropology:
• obtain technical and practical skills needed to make an ethnographic film;
• learn how to apply certain styles of camera, sound, and editing that have been developed in the field of visual anthropology;
• learn how to apply ethnographic research practices of observation, participation, reflexivity, and research ethics in a filmmaking project;
• since filmmaking is inherently collaborative: reflecting on modes of collaboration in an ethnographic film project, both within the crew and with the research participant.Through the classes and assignments, students will also:
• consider more deeply how certain technical and aesthetic choices in camera/sound/ editing may express certain theoretical and methodological approaches in anthropology,
• develop their own view on the role of audio-visual media practices in anthropological research.
Literatur
Study materials
Since this is a hands-on practical course, which builds on theoretical knowledge from a previous course, reading will not be more than 100 pages. Readings include pages from the handbook Filmmaking for Fieldwork by Andy Lawrence (2020), technical equipment manuals, research ethics guidelines, and a few pages (87-99) from Visual Methods in Social Research by Marcus Banks (2001). Some of the readings will be collective for the whole class, other readings will be assigned specifically to the camera persons, sound persons, and editors to make them equipped for their task.The following films, which were study materials in the lecture Introduction to Visual Anthropology, can be selected as a role model for the own film project. After choosing a model film, students will be expected to watch that film one more time, this time paying closer attention to the approach, camera/sound and editing styles they wish to emulate.
1. Bateson, G. and M. Mead. 1940. Bathing Babies in Three Cultures. Cambridge University (12 minutes).
2. MacDougall, D. 2000. Doon School Chronicles, Part I. Berkeley Media (68 minutes).
3. T. Minh-ha Trinh. 1982. Reassemblage: From the Firelight to the Screen. (40 minutes).
4. Rouch, J, and E. Morin. 1961. Chronique d’un Été. Argos Films, France (90 minutes).
5. Castaing-Taylor, L. and V. Paravel. 2012. Leviathan (87 minutes).
6. Riggs, Marlon. 1989. Tongues Untied. Frameline (55 minutes).
7. Gill, Harjant. 2016. Sent Away Boys (40 mins).Equipment and Vienna Visual Anthropology Lab (LAB A0421)
During the workshops, students work with equipment that is available in the equipment library of the Vienna Visual Anthropology Lab (www.vval.univie.ac.at): camera sets, specialised sound recording devices, and tripods/shoulder rigs. Students are encouraged to use the Lab’s equipment to gain experience with different techniques and materials besides the ones they are already familiar with. Materials can be borrowed free of charge, but need to be reserved in advance with the Lab’s coordinator, Paul Katterl. Paul is also available for technical support during the opening hours (see https://vval.univie.ac.at) or on email (video.ksa@univie.ac.at). All groups are encouraged to meet with Paul already mid-October to discuss the planning of the film project and the equipment that can best be borrowed. It is possible to schedule additional meetings with specific questions later on, for example to start or refine the montage.Equipment planning
•Students have access to the cameras of the Vienna Visual Anthropology Lab in October and November. Please reserve generous time for fieldwork visits and filming in these months. In December, the cameras are no longer available for students of this course.
• Students will have access to the VVAL editing sets in October-December and the first weeks of January, until the submission date mid-January.Hard Drives
Note that working with visuals takes up a lot of storage space. If you work in a team, you will probably need
an external Hard Drive that is suitable for multiple computer systems (e.g. for exchange between
Mac/Windows, format on Exfat). Test your storage methods at the start of your group work to ensure
compatibility.
Since this is a hands-on practical course, which builds on theoretical knowledge from a previous course, reading will not be more than 100 pages. Readings include pages from the handbook Filmmaking for Fieldwork by Andy Lawrence (2020), technical equipment manuals, research ethics guidelines, and a few pages (87-99) from Visual Methods in Social Research by Marcus Banks (2001). Some of the readings will be collective for the whole class, other readings will be assigned specifically to the camera persons, sound persons, and editors to make them equipped for their task.The following films, which were study materials in the lecture Introduction to Visual Anthropology, can be selected as a role model for the own film project. After choosing a model film, students will be expected to watch that film one more time, this time paying closer attention to the approach, camera/sound and editing styles they wish to emulate.
1. Bateson, G. and M. Mead. 1940. Bathing Babies in Three Cultures. Cambridge University (12 minutes).
2. MacDougall, D. 2000. Doon School Chronicles, Part I. Berkeley Media (68 minutes).
3. T. Minh-ha Trinh. 1982. Reassemblage: From the Firelight to the Screen. (40 minutes).
4. Rouch, J, and E. Morin. 1961. Chronique d’un Été. Argos Films, France (90 minutes).
5. Castaing-Taylor, L. and V. Paravel. 2012. Leviathan (87 minutes).
6. Riggs, Marlon. 1989. Tongues Untied. Frameline (55 minutes).
7. Gill, Harjant. 2016. Sent Away Boys (40 mins).Equipment and Vienna Visual Anthropology Lab (LAB A0421)
During the workshops, students work with equipment that is available in the equipment library of the Vienna Visual Anthropology Lab (www.vval.univie.ac.at): camera sets, specialised sound recording devices, and tripods/shoulder rigs. Students are encouraged to use the Lab’s equipment to gain experience with different techniques and materials besides the ones they are already familiar with. Materials can be borrowed free of charge, but need to be reserved in advance with the Lab’s coordinator, Paul Katterl. Paul is also available for technical support during the opening hours (see https://vval.univie.ac.at) or on email (video.ksa@univie.ac.at). All groups are encouraged to meet with Paul already mid-October to discuss the planning of the film project and the equipment that can best be borrowed. It is possible to schedule additional meetings with specific questions later on, for example to start or refine the montage.Equipment planning
•Students have access to the cameras of the Vienna Visual Anthropology Lab in October and November. Please reserve generous time for fieldwork visits and filming in these months. In December, the cameras are no longer available for students of this course.
• Students will have access to the VVAL editing sets in October-December and the first weeks of January, until the submission date mid-January.Hard Drives
Note that working with visuals takes up a lot of storage space. If you work in a team, you will probably need
an external Hard Drive that is suitable for multiple computer systems (e.g. for exchange between
Mac/Windows, format on Exfat). Test your storage methods at the start of your group work to ensure
compatibility.
Zuordnung im Vorlesungsverzeichnis
Letzte Änderung: Mo 30.09.2024 12:46
•After the kick-off meeting, students make groups of three in which they work on an ethnographic film project. The group decides on a research participant and a research setting. The group makes an orientation visit to the setting see the possibilities for filming, meet the research participant to explain and discuss the film idea, and obtain informed consent from them (field visit 1). The resulting research proposal are submitted with the lecturer.
•During 5 intensive workshops, students train in camera work, sound work, and editing, and receive input lectures about research ethics, elicitation, and collaboration. Some classroom time is reserved for film project development in the groups.
•In between classes, students conduct an observation (field visit 2) and elicitation (field visit 3) with the research participant. This results in a developed film plan including a storyboard and a research ethics assessment. After the storyboard is approved by the lecturer, students will record the film according to the storyboard (field visit 4 and 5).
•The film are submitted mid-January.
•A film screening will be organised (date to be decided) by the lecturer.Set-up of the group work
Students work in groups of three. The lecturer will clarify tasks and work load between the three group members (camera person, sound person, and head of editing) and hold each individual responsible for their task.Set-up of the filmmaking project
The first group task is to find a research participant for the film project. Given the quick pace of the course, it would be ideal to think about this already before the first class. Important is that the research participant is nearby (within Vienna), accessible (within your social network), involved in an activity that regularly occurs so that it can be filmed more than once (e.g. every day or every week) and interested to collaborate on the project. Filmable topics that regularly occur can be found, for example, in the sphere of work, studying, home, food, water, infrastructure, transport, activism, media, performative arts, sports, health, body techniques, human/non-human interactions, etc.