History
Even before the emergence of anthropology as an academic discipline in the 1880s, ethnologists were using photography as a tool of research. 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)
The history of anthropological filmmaking is intertwined with that of non-fiction and documentary filmmaking, although ethnofiction may be considered as a genuine sub-genre 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). 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 to that end any 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, anthropologists such as Hortense Powdermaker, Gregory Bateson, Margaret Mead (Trance and Dance in Bali, 1952) and Asen Balikci (with Netsilik Inuits' movies) 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" (15). 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.
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. John Collier, Jr. wrote the first standard textbook in the field in 1967, and many visual anthropologists of the seventies relied on semioticians like Roland Barthes for essential critical perspectives. In 2011, Marcus Banks and Jay Ruby published the first history of the field - Made To Be Seen: Historical Perspectives on Visual Anthropology. Chicago: University of Chicago Press.
At present, the Society for Visual Anthropology (SVA) represents the subfield in the United States as a section of the American Anthropological Association.
In the United States, Ethnographic films are shown each year at the Margaret Mead Film Festival.
Read more about this topic: Visual Anthropology
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“Only the history of free peoples is worth our attention; the history of men under a despotism is merely a collection of anecdotes.”
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“History ... is, indeed, little more than the register of the crimes, follies, and misfortunes of mankind.
But what experience and history teach is this—that peoples and governments have never learned anything from history, or acted on principles deduced from it.”
—Georg Wilhelm Friedrich Hegel (1770–1831)