Projects

Students in this class will prepare, individually or in small groups, a research-based project, consisting of a film, video, photographic portfolio, website, or other evidence of mastery of the principles, theories, history, and/or practice of visual anthropology.

The project is designed to help students hone a variety of technical skills (especially photography and filmmaking), and to provide experience in the practice of cultural anthropology. Preparation for this assignment will, therefore, require careful conceptual development, planning, and co-operation within project groups where appropriate. (Note: requirements and point values were reconfigured after midterm.)

Major components:

A proposal (2-3 pages) and a comprehensive annotated bibliography of sources consulted (10%, due at midterm). The proposal will explain the general design of the project and its conceptual focus. I will expect you to answer questions such as these: Why have you chosen to focus on this particular aspect of visual anthropology? How do you plan to pursue your topic? What preparation will be required (do you need to set up interviews, arrange for a meeting with a group of people, etc.)? What kinds of questions would you like to answer by pursuing this particular topic? Do you foresee any difficulties in accomplishing your plan? How will you solve problems if they arise?

A visual component, which allows you to use your technical skills (photography, video production, digital filmmaking, web design, hand skills) to create a short film, photographic or drawing portfolio, or website that explores some aspect of cultural anthropology. The final product must be able to be viewed by the class during the final week's exhibition, and must be available for instructor input by week 10. The visual component of the project will be assessed on the basis of its explication or demonstration of one or more anthropological concerns, its accuracy, fairness, and evident depth of research, its objectivity, and its overall design (for films, storyboards would help in evaluating this aspect)--including its aesthetic quality. Films and videos usually include audio voice-over and/or dialogue, and the quality of these elements will also be considered in the evaluation. This segment of the project is worth 20 points.

Field notes are a vital aspect of ethnographic practice. As you develop your project, conduct research and interviews, and consider the implications of what you learn, take notes. These should be included in the small notebook I'm asking you to use on a regular basis during this course. Additional notes, in the form of digital audio files, sketches and/or story boards, project-specific handwritten observations and comments, short film sequences or test photos, etc. can be kept in the appropriate section of your workbook. Include audio and digital video files in DVD or CD format. Evidence of fieldwork will be considered in he evaluation of your project.

A 3- to 5-page process essay that describes the project’s development, accomplishment, and that situates it within the context of ethnographic practice must accompany the visual component of the project. Explain any changes that occurred to your plan after the proposal was submitted, and discuss technical choices (design decisions) such as editing, framing, lighting, etc. Remember that such decisions must be made on the basis of reasons, so be sure to explain why they were made. The essay (and revised bibliography, if required) is worth 20 points.

Projects may be undertaken in groups. Each group must elect a team leader and assign specific tasks and goals. In addition, a timeline should accompany the proposal, listing benchmarks for completion. Project checklists will be issued with the instructor's evaluation of the proposal, and groups will be required to include a self-assessment component in their individual process essays.

Getting started:

Begin by consulting the Seeing Anthropology or other sources on the practice of visual anthropology. The "Questions to think about" sections in each chapter of Heider's book, as well as the "Headline Anthropology" sections note how cultural anthropology is used in everyday life. If you belong to a particular cultural group, consider using your ties to that group--ethnic, religious, social--to formulate questions that might be of interest to this class. The videos on the DVD that accompanies the book can also be helpful by showing you how anthropologists have used film to study the cultures with which they are concerned.

The resources page for this course contains a growing list of websites that may prove helpful. You might also consider consulting my Humanities Cultural Links for background on groups in which you might be interested, although these pages are no longer maintained and some sites may have left town.

The range of possible topics for this project is almost limitless. But you do have to consider time, your own skills and/or the skills of your group members, the ethical implications of your proposed research (do not, for example, choose a topic that requires intrusion into other peoples' lives and privacy), and how well you can accomplish your plan with the background you already have and how much additional research will be necessary.

Some aspects of projects can begin almost immediately. As soon as your topic is formulated, start conducting background research. If you plan to create a photographic portfolio, and you have access to your subject(s), start taking pictures. Lay the groundwork for interviews, arrange to participate in events, schedule equipment check-outs and lab time where necessary.

There are no time limits on video presentations, no length/depth limits on websites, no minimum/maximum numbers of photographs. A well-designed project will develop its own parameters. Editing is an extremely important (and delicate) aspect of the end product, because your treatment of your subject must, above all, be honest and as objective as possible. We will be discussing some of the potential difficulties during the quarter, but it helps to keep theory and ethics in mind as you develop your final piece(s). It also helps to use your field notebook to make observations, so that you can discuss developing ideas or problems with your teammates and with me. Notes will also help you write your process essay.

During the quarter you will be viewing some classic examples of just how good an ethnographic film can be, and will be exposed to photographers and artists whose work not only adds to the pantheon of the visual arts, but also enhances our understanding of our fellow human beings. Your task is to use these examples to inspire your own creative efforts and to demonstrate your ability to explore cultural anthropology using the skills you have been developing within your program.

A note on research

Because this is a general studies course, I am charged with helping you to develop and hone your writing, communication, and research skills. A major component of this project, therefore, is to produce evidence high-quality, college-level research leading to well-constructed essays that effectively communicate the results of careful interpretation. Individuals and teams who provide evidence of thoroughness and professionalism by submitting a comprehensive annotated bibliography with their proposals will require no further bibliographical development. If, however, the initial effort is sub-standard, you will be asked to improve it for re-submission with the final project, and deducted points will be restored as befits the results of the revision.

Some final thoughts

This course is being taught for only the third at AiDallas; as a result, the members of this class are necessarily experimenting with how to make it work well. That said, I have been developing the class for nearly ten years, and it is grounded in a lifetime of study in anthropology and the humanities. My exposure in graduate school to ethnographic filmmakers inspired the course, and my interest in cultural analysis through visual media has increased as they have become more readily available to my students.

Keep in mind, however, that the course is designed for upper-quarter students with well-developed technical and professional skills. I expect professional attitudes, timeliness, and academic rigor in this class. I hope it will be fun, but the project will require faithful attendance, co-operation, and dedication. You will be expected to keep up with assigned readings linked to the Schedule. The rewards could quite possibly include a substantial bit of evidence ofyour ability to conduct research, analyze unfamiliar material, and develop a multi-disciplinary work that shows off your skills in critical thinking, as well as visual and written communication--all of which can enhance your program portfolio.

If, after reading through these guidelines, you still have no idea of what to do, consider this: We are losing WWII and Korean War vets at a rate of about 1200 per day. An increasing number of Vietnam vets are beginning to succumb to the ravages of age as well. If you know anyone, male or female, who served in any of these conflicts, the Library of Congress is looking for oral and visual histories as told by the people who were on the ground, doing the work--or staying at home, holding the fort. This would be an admirable project to undertake for this class.