Some of you who — unlike me — have not had family members murdered by nazis or had every synagogue in their home town firebombed in the same night may now be learning about antifa for the first time. But although it’s making waves in the media now, antifascist action has a century-long history which includes many anthropologists, who have fought fascism not by writing letters to the New York Times or retweeting an animated .gif but by putting their lives on the line.
This is the third post in my series on the definition of “ethnographic film.” In the first post I laid out the basic approach I am using: one based on Umberto Eco’s model of listing a “family of resemblances” rather than offering a strict test of a film’s “ethnographicness.” In the second post I showed how this would work in practice, based on a rough sketch of the “family of resemblances” I will be outlining in more detail here.
Jens Kossmagk gazed into the darkness and saw a black jaguar staring back at him. As he watched the wild cat, he slowly became the animal—he felt his cheekbones widen into feline features, his nails lengthen into savage claws.
When it comes to Internet Drama, nothing beats the paper letter. Anthropology’s founders did not lead isolated lives. “American cultural anthropology” corresponded with “British social anthropology” and the “Année Sociologique” all the time. I’ve blogged before about Marcel Mauss talking trash about Malinowski with Radcliffe-Brown. But for pure in-your face, the winner has got to be Robert Lowie’s response to A.R. Radcliffe-Brown.