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Visual anthropology is a subfield of social anthropology that is concerned, in part, with the study and production of ethnographic photography, film and, since the mid-1990s, new media. More recently it has been used by historians of science and visual culture. Although sometimes wrongly conflated with ethnographic film, Visual Anthropology encompasses much more, including the anthropological study of all visual representations such as dance and other kinds of performance, museums and archiving, all visual arts, and the production and reception of mass media. Histories and analyses of representations from many cultures are part of Visual Anthropology: research topics include sandpaintings, tattoos, sculptures and reliefs, cave paintings, scrimshaw, jewelry, hieroglyphics, paintings and photographs. Also within the province of the subfield are studies of human vision, properties of media, the relationship of visual form and function, and applied, collaborative uses of visual representations. ==History== Even before the emergence of anthropology as an academic discipline in the 1880s, ethnologists used photography as a tool of research.〔Jay Ruby. "(Visual Anthropology )." In ''Encyclopedia of Cultural Anthropology'', David Levinson and Melvin Ember, editors. New York: Henry Holt and Company, vol. 4:1345–1351, 1996 ().〕 Anthropologists and non-anthropologists conducted much of this work in the spirit of salvage ethnography or attempts to record for posterity the ways-of-life of societies assumed doomed to extinction (see, for instance, the Native American photography of Edward Curtis)〔Harald E.L. Prins, "Visual Anthropology." Pp. 506–525, In T.Biolsi. ed. ''A Companion to the Anthropology of American Indians.'' Oxford: Blackwell Publishing].〕 The history of anthropological filmmaking is intertwined with that of non-fiction and documentary filmmaking, although ethnofiction may be considered as a genuine subgenre of ethnographic film. Some of the first motion pictures of the ethnographic other were made with Lumière equipment (''Promenades des Éléphants à Phnom Penh'', 1901).〔Erik Barnouw. ''Documentary: A history of the Non-Fiction Film''. New York, Oxford: Oxford University Press, 1993.〕 Robert Flaherty, probably best known for his films chronicling the lives of Arctic peoples (''Nanook of the North'', 1922), became a filmmaker in 1913 when his supervisor suggested that he take a camera and equipment with him on an expedition north. Flaherty focused on "traditional" Inuit ways of life, omitting with few exceptions signs of modernity among his film subjects (even to the point of refusing to use a rifle to help kill a walrus his informants had harpooned as he filmed them, according to Barnouw; this scene made it into ''Nanook'' where it served as evidence of their "pristine" culture). This pattern would persist in many ethnographic films to follow (see as an example Robert Gardner's ''Dead Birds''). By the 1940s and early 1950s, anthropologists such as Hortense Powdermaker,〔Hortense Powdermaker. ''Hollywood, the Dream Factory: An Anthropologist Studies the Movie Makers.'' Boston: Little, Brown and Company, 1950.〕 Gregory Bateson, Margaret Mead (''Trance and Dance in Bali'', 1952) and Mead and Rhoda Metraux, eds., (''The Study of Culture at a Distance'', 1953) were bringing anthropological perspectives to bear on mass media and visual representation. Karl G. Heider notes in his revised edition of ''Ethnographic Film'' (2006) that after Bateson and Mead, the history of visual anthropology is defined by "the seminal works of four men who were active for most of the second half of the twentieth century: Jean Rouch, John Marshall, Robert Gardner, and Tim Asch. By focusing on these four, we can see the shape of ethnographic film" (p. 15). Many, including Peter Loizos,〔Loizos, Peter 1993. Innovation in Ethnographic Film: From Innocence to Self-Consciousness, 1955-1985. Chicago: University of Chicago Press.〕 would add the name of filmmaker/author David MacDougall to this select group. In 1966, filmmaker Sol Worth and anthropologist John Adair taught a group of Navajo Indians in Arizona how to capture 16mm film. The hypothesis was that artistic choices made by the Navajo would reflect the 'perceptual structure' of the Navajo world.〔Darnell R. Through Navajo eyes: An exploration in film communication and anthropology. American Anthropologist, Vol 76, pp 890, Oct. 1974〕 The goals of this experiment were primarily ethnographic and theoretical. Decades later, however, the work has inspired a variety of participatory and applied anthropological initiatives - ranging from photovoice to virtual museum collections - in which cameras are given to local collaborators as a strategy for empowerment.〔Turner, Terence 1992. Defiant images: the Kayapo appropriation of video. Anthropology Today 8:5-15.〕〔Wang, C., & Burris, M. A. (1994). Empowerment through Photo Novella: Portraits of Participation. Health Education & Behavior, 21(2), 171-186.〕〔Chalfen, Richard and Michael Rich 1999. Showing and Telling Asthma: Children Teaching Physicians with Visual Narratives. Visual Sociology 14: 51-71.〕〔Riddington, Amber and Kate Hennessy, Co-curators, Project Co-coordinators, 2007. Dane Wajich: Dane-zaa Stories and Songs: Dreamers and the Land. Electronic document, http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/danewajich/english/index.html?action=fla/gerry (accessed May 29, 2014).〕 In the United States, Visual Anthropology first found purchase in an academic setting in 1958 with the creation of the Film Study Center at Harvard's Peabody Museum of Archaeology and Ethnology.〔Jay Ruby. The Professionalization of Visual Anthropology in the United States - The 1960s and 1970s." 2005 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「visual anthropology」の詳細全文を読む スポンサード リンク
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