aes eal Adiopsay, LB 9-4 etisalat rely fo he pubis Pesacoping pete by Here only The Self in the Other: Ethnographic Film, Surrealism, Politics Martin Roberts isnt re xamines James Clifor's notion pf thnopaphe surat Wg Ta is wich may be pe. 09 cue xls J 25 artigo SSA, an Jy Lene and Gary Kes Turan! Cie! Rous Le Me font saci ofthe ainasbetneen hey Sd Tore ek wihin French etography Lain 966) elmogrepiic ar samhasben al rout in coneporry vou atopeleB, Met cee rd ew of ouch ar anurans, ogni Se TS iy he cach iw, poring outta estas on he NGA Poh ack a cfs accor Wheres seam Mtr defines ven of sar onions ast poi targus, tgapNe FNS Jo re pte necro the pois wha presenta Samet ised re oY aepmpaed ena, Therentoducton of PN sa alin senon not ales the equation Rel ine 0% the ng as thew for broader comparisons atten raEPRAS aa ety plea arctic uch 8 Td Cina afd he wore aad other more ove ons which in turn rae questions about Ui raire Ct, Mae opi innatng sini psi "new won oe” of otal xptalim. CRICKET CRITICS in The Predicament of Culture (988), James Clifford mentions » seq sa cry Leach and Gary Kilden's documentary film, Tobriend Cricket {Shah Septited An Ingenious Response fo Colonia, the fms spo the cane ees’ translation of te game of cricket introduced by He Rew Tiobriande eg under the Britsh colonial regime) into a form of Ntualized warfare. Clifford describes it thus: “he es sno staged vi of igh-pate eeed Dies Elo Fa ira he oie cally inducing be fae wh TOE tnt ong whcbe shart om ase ed on Ne a. 62S Ree pani Adidas bug, His bona 481° RST fof re Sis ee Mea a eof Tw. arr hence be Ford angus Fim © Mali Salle repre. ets curetly aa ren bank on ership brace grey and seen80M. Roberts ‘chal Tausaig alto discusses Trand Crick in hi recent book Mines ad lteity 09991: ote ancrs moving say slog Then ne fen ees sly 1 ak nd We dane argue ec of acacia MOY fe ee et pcan eer manos Sel cr et wecing ron he sons TMi aria sing deem Tee pel ee ey a Backhoe of eee in, th US mile wes a wee Calor see er Yor Cy 9834) Teaver in the same chapter, Tass discusses Jean Rouct’s ethnograplic ear ae Les Mafres fous (1953-54), a thiry-minute account oF @ ‘Hauka en in te colonial Gold Coast (now Ghana) inthe course of Poser ne participants become possessed with the spins of Preney and which te Ptal ofials and enact a grotesque parody of thelr olonit British co one of the most discussed sequences ofthe film, row €58 masters Othe head of an effgy ofthe colonial governos after Which bro Sis io a sequence depicing a Betsh trooping-the color corey Rove thatthe egg represen’ the plumes on the Helmet of We reallife governor: Taussig; “Those of ws watching the film in ‘a university lecture fall in New York City gasp” 0993: 242) ETHNOGRAPHIC SURREALISM” mat do these gasp-inducing films have in common? Bach exempliies What do these fe tinographicsureallst,a term which has been gaining via crncrearrency in Amerzan anthrepology since the publiclion Clifford’s essay “On Ethnographic Surréalism”” (1981), and its expanded Clitors edlament of Calle Clifors's paradigm has been infer, Losi ean anthropoogy,noabl fh the rapidiy-expanding Geldof Sal in Amorology references to ethndgraphic sureaism (and surest Ye ae awe become fequestin the pages of journals such 2¢ Visit sar pay Review, and it has éven Been the subject of conerence Airy aussi. oud hist fs widely—and fo dates Pe (organiat PY garded as an efhnofraphic surrealist filmmaker [DeBoeze® seve 195 soles 1992} indeed, several recent writers assume hm 1° see cnly one [Weinberger 199221, Tylor 1994: xil> san oo ation of eshncgraphy and surrealism is based on Nistor! ne Sy collaborative proets involving former members of 108 cneouners ist movement founded by Ande Breton in 1924, and igus French rearg academic dixeiptine of French ethnography, fom Fra ee rd 140s: the joual Documents (1920-30, the Mission sae ares out, a Uvee-year ethnographic expedition recounted in © Dakar Dpto Ned work Cafu frie (934 the Clits de Saree, anexperimentl ebographi= group founded in 1908 by Gears Soci Roger Cailos; and Claude Lévi-Strauss encounters with ie The Self inthe Other 81 Suzrealists in exile in New York during the Second World War. Yet Clif fond'e actual examples of ethnographic surrealism in many ways have ore in common. with André Breton’s definition in the First Surrealist ‘Manifesto {1924) of the surrealist image ag the chance encounter between a rotantrealities-—the realities inthis jnetance being the cultural rel- ities of colonizer and colonized, self and pther. Significantly, each ofthe examples of ethnographic surrealism 1 have mectined involves some form of mimetic relation between the (post) satoulal Western self and its (formerly) colonized other —most often, the sRimary ofthe first by the second. Significantly also, this mimesis often Involves the objects and/or signs of Western consumer society. The eth rographic surealist inage, it would seem, invelves the manifestation of Tee (eodern, Fist Wocl) self in the (tribal, Third World other a reflecting bfthat self back to its by the other which Taussig cals the colonial mirror ff production (1987: 27-35; 1993: 63-66) Fon Clifford and Taussig mention numerous similar examples of eth- nographie surealismy the native American withthe Parker pen who sits seer Fiaude Lévi-Strauss at the New York Public Library (Clifford 1988: 257]; or the embroidered mola (blouse) made by Cuna women of the San Slat islants, which faithfully reproduces the RCA-Vietor advertising logo bf Nipper the dog listening to His Master's Voice on a gramophone [Taus- Sig 1982: 223-251, Anthropologists have long been familiar with cultural ‘enomena ofthis type, ofcourse, from actual effigies Of the white man to Bango cults (Lipps 1966, Blackburn 1979; Lindstrom 1993] Indeed, such craanples have provided the basis for a. whole sub-geire of ethnographic flan rons Roush’s Jaguar (1954-671 to Dennis O"Rouke's Carnal Tours [1987]. In today’s postmodern, post-colonial world, it would seem, eth- ographic surealiom has become ubiquitous, almost a cil Congolese Jens shopping for Armani suits in Paris; a Maasai fibesthan wearing a ‘Nestlé’ condensed milk can as an earring; pith-helmeted ar! colon figures old by Afican artists to French art dealers an Aboriginal pinting of TV Sob Kayapo and Nambikvvara tribesmen shooting video of ne another in the Amazon... For Clifford and Taussig, cultural phénomena of this sort anudermine the stable distinction between a Western self and its others on vihich colonialism-—and anthropology —have historically béen predicated, wid underline the need for “a navel anthropology not of the Third and Gener worlds but ofthe West as mirrored in the eyes ind handiwork ofits Others” [Taussig 1983: 236]. ‘Yet there remains something troubling about the edphoria of these two white Western cultural eritics over this discovery f themselves inthe other, their eagerness to celebrate such instances of cultural hybridity (as Taussig, eeinents on Trobriind Cricket in a revealing aside, “the audience in the Southern postmodem city loves it, as do 1"). And its this euphoria which rorbes me uneasy about applying the term ethnographic surrealism to the Dreveding esamples-unless we mean “surrealis” simply inthe popular52M, Roberts sense ofthe term. What troubles me is that, in many instances of what is Sten called ethnographicsurreaism, there isa danger that the term "surre- seen eae ned fo sere anaesthetic or poe] purposed rectly counter to its historical ones. See vent ce el favorite activities was wandering around Parisian flea-markels in search of ‘exoticand other strange objects (Clifford 1988-121]. André Breton devoted a Sifetime to collecting tbl exotica inthe form of masks, statues, and other artifacts (Breton 1991], Artaud travelled to Mexico in search of peyote [1971 Leiris went to Africa, Surtealism was, in many ways, predicated on exoti- * i ' society and its political, cist: its wholesale rejection of Western bourgeois society tc Social, and cultural institutions, was accompanied by a countervailing Senco emai modes cf hough epee cine Exoticem, like the opposing inner exploration of the unconscious, was ‘Conral to this project. What is important here is that, however much of an institution it was later to become, Surrealism defined itself from the outset as an oppositional estnetc an political practice (a characteristic which is the huallmark of avant-garde movements) Hence the Surrealist’ allegiance to the French Communist party; hence their denunciation of colonialism: hhonce thet call fora boycott ofthe Colonial Exhibition of 1931—in marked Contrast to the Trocadero Museum's ethnographic exhibition organized in tandem with it amin 1986) (MIMESIS/RESISTANCE story of Many of the debates which have taken place throughout the history Mee ee putty and he European avantgudes in genera the este for revolution, forthe overthrow of the existing order, the relation between the material, sociopolitical sphere and the symbolic one, and the tiiency (or lack thereo of symbolic resistance —areof particular relevance {i the context of eolonialism, inastnuch as this oo involves a relationship between a dominating and a subjugated society. Within this context, trimesis-of the colonizer by the colonized, or occasionally the reverse tay play on equivocal poltalrle, Victor Turner [1969] argued several Tecades ago that within a given sodiey, mimicry of a dominant social group by a weaker one (camival serves to consolidate the existing s0 Thi i Ft Repro ig Polat Wie Me Ld nbs Breton, André i oe To Mf devo Pr Gallina ol ss 98 Won Fon og mine Pare Pat ue de poche Eas 4] Tot Ant ton cole a: Eee da Cone Pomp Dang er TB Thy he tre Mca Shaw os. Meals Univers of Minne Sar Beke thn a iano car ve chase "5 Tue a of te NoLat Ain Cla Lodo ih in nine tel Gunn far evn ates oss Wt On Shprpi Sure Compt Sin Sit ed ity, 23.99-4 Martel Spade vs i Clr! aS 1pm nefredine Care oer Cey Epo owt, end Art Case Bide Man: Livan Unvey es 1 Drs A Dcpetin Va atnply Rie, 70 6-6 Como Pry od tid tone Ton fm Elina Macher nd New Yr: Maer Usversy Pes a, Maa : san chn its eo caa ong nnn Ue Sime Prcment "Como: Din, Aree, mcd ei 9-2, Pas Jem idl Pace Cocicn ls Glen de Ga : Deon eat 18 hppa fn ew Yd gy 20-00-17 Tot "Exit Cnn. Val Ano Rien, 702 56 in ty ge Con voor pie Tale, atl Tahoe BOT Cha i eT Write thts of itn, An bor: Meigs nee of tein, Ans bo Mihm vo Twas Cl Peay o Thi Word Rin Quins him. jin aan Pa Widens bp. 2092 tomo Sh Ri he ons Tet Cnn Cr lps Manes Th atts Chota ht Cio hin Pes ad Pd Wer ee F856 Lodon Dich Fe Ganda jira Toa ae Ee ek 2 tes oe A COR er inept oe cng Pa: Cnte Crys mpc 900 vo, Dates bane el Fj rss pe pe: Pa: iiimnen92M. Roberts Ginsburg, Faye nd Fe ag Metin Faustian Conta ot Global Vilage? In Revedng Cait Indigent Merge Manse Durbarn NC. ad London: Duke Univetiy eet oa ep 60s 92-12 9D iced Elone ane Brigit Kee aa tes niles de Agu de Yn ari: SVROS ADs alan, Romy Man amy xing the Sure Fei. Vs Antroply Revi, 100: 50-5. Hollis, Denise aie Oe Ce de Sclgl, Paris Galimar3 16s pin Jean cin Je nogaphie mode dinamo De qusasesrapors de einaloge ave fe et on Ince Nate dou} Haid and Rach ds. Pp. 4 ‘Bl Neuchatel: Mast &thnegraphie Bee ecology the Deis Dictionary Janine Cte and a an eas, Vous Attplgy Ree, 70 A Jey Martin ny Marti. cgchanimant ofthe Ey Suan and he Cris of Oclarcenrs. Vital sare Rese, 7; 5-8. Repintd in Mayle 1994 173-201) Jnles Rost, Beret Loe computers nd Sct Change in Af Bei: Mouton de Gaye 1990 Temi Si posodery Images ol Technology n Afi Tous and Pops Fa re cone Seed Ess fom ie Viel Antiploy Rei sa tga: Lnien Talon of Pp. 25-62 New York Rowe Len Jory W- ch Wad Message In Tred Crick n Anthropol Fb mabing Jack Sct on tC: Harwood Academie Pres. (Rept of FAP ola acon te Advaneent of eer oypostn “OTS Fen al iming” Univers of Lancaster, 6 September 176), es, Michel 2, Mage fete, Paris: Galina 156 Lundstrom Lamont a range Str Deir fom elmer and jo Honol: Univesty ot Bawa Pros Lips Juss FS cep its Bak New Fy Path NX: Univesity Books sins, Peter aon Pe ein Edo ie From Irae Se Conan 185-2985. gor Univeray of Chop Pre. ‘MacDougal, David acount Vinal Antroplry Rviw, 7C2:2-10 (Reprinted in Tor 194 zee} Mackenzie, cot acai oats and the Mines Facaly Ethsographic Filmy Post-Coonasn, and ticloven) Word Onder nino, 3-12-22 Marka Chui are” os Satues neuen aes Comments, 1: 7-23 Micacs Ese cell: ion, Mada nd Tape! Horizons. Mieapols: Univer iy of hinesta Pr Piney, J and Pal Wien es 2 ee ne ofDrd Crem, Londo: Bish Film tite, ‘The Self in the Other. $8 Predal, René 90d oon Rouch, wx gr gous. Spe. suo of Cin Action, V7. Solanss, Ferando E, and Ocavie Getino anes Fs a Third Cinema. In Mocies ond Metts Bil Nichol, ed. Pp, 56-58. Berkeley. Usivery of California Pres Stoller, Paul st Pay ic Comedy: Cultural Resistance and the Hauka Movement in Niger. EUs, 120): 165-88. oon Tae Caenatic Gro: the Enography of Jom Rouch, Chicage: University of Chiceg> Press 1901 Asad, Roch, and the Cinema of Cruelty. In Visualizing Theory Sled Ess fom aa nthoply Resi 1990-286. Lacien Tayo, ed. Fp. 1-98. New York: Routledge. Suleiman, Susi ima raven the Stet aed the Salon: The Dilemma of Surrealist Fotis in the 19905 pert aivopagy Review, 70 39-50. [Reprinted in Taylor 19M: 3-158) ‘oussig, Miche, ns, Mitton Colo, andthe Wild Man: Stuty bx Terror end Healing. Chicago: University of Chicago Press. 1955 Minas bd Alig Particular History ofthe Senses. New York: Routledge. ‘Taylor Lucien, ed. "or A Conversation with Jean Rouch. Visual Antroplogy Revco, 70: 32-102, set salting They: Sec Ex frm Be Visual Antrpaogy Revise 1990-1984 New York: Routledge ‘Torney, Vitor rt MI ital Proce: Stracure an Ant-Sructure. New York: Aldine Weinberger lot oon ie Camera People. Tansian, 5524-54 (Reprinted in Taylor 1994: 4-261] ‘einer, Annette “9m Reviow of Tobiand Cricket) American Antvpoigst, 79: 506-507. oy Epstmclogyend Ethnographic Reality: ATrbrand lane Case Study. Ameren (Antapiog, 8: 752-57. 1000 esx Camera and Ot the Fiza That Did Not Get Made, Vist! Anthro- puogy Revie, 80). 108-10. [Reprinted in Taylor 1H: 54-59.) Werewere Liking arts los: slates habs &Arique de Tvs. Pais: Les Nouvelles Editions ‘Asicaines. ‘witlemen, Past ie Third Ciera: Notes and Reflections n Question of Third Cinema, Fines nd Paul Willems ed. Pp. 1-29. London: Brits Film Insitute FILMOGRAPHY Leach, Jy, and Gary Kildea a Crier An tngerious Response o Coonan, Berkeley: Univesity of Cal oma. Center for Media and Independent Learning, Mather, Chris 958 tie de Sere. Pais: Argos Films oad Sona cle. Parts Argos Fis. Marker, Chris, and Alin Resais G50 Les States mere! our: Pas: Prévence Aficaine.94M. Roberts (OPRourke, Dennis Re eal Tours Loe Angeles Direct Cinema. ouch, Jean TSE Les Mates fous Pris: ils de a Pind 1954-67, Jaguar, Pars: Flms de la Tad. 908 Mame Eau, Pars: Comité du film ethnographique “ahimik, Kidlat TB81 | Turums El Cerrito, CA: Flower Films, 1903 Perfumed Nightmare El Cente, CA: Flower Pm Vine dps V8 95-29 (01996 008 (Overseas Publishers Asano mie wah cy Rem he pubser Area BY. Pb nthe Neher Pretocopying ported by ese only by Harwood Acadene Pubes Gabi ‘ented in ae BOOK REVIEWS Encyclopaedia of Indian Cinema ‘Ashish Rajadhyaksha and Paul Willemen, eds. Encyclopaedia of Indian Cinema. London: British Film Institute; New Delhi: Oxford University ress, 1994. 568 pp,, biblio, illus, index of films. Rs. 995; $49.95. This encyclopedia isa remarkably useful reference work for anyone interested in the indign and Palstani cinema, or indeed modern Indian cultural history I is {neligently designe, with the Bist half ofthe book 35-223] presenting over 750 short articles on acter, directors, musicians and others, occasionally interspersed svlth short pieces on such diverse topics a8 “Art Schools,” “Caleutta Theatres,” “DME Flt” “Doonlarshan," "Mythologicals,” “Music Schools," “Parsee Thea; tee” "Photography," and the various studio. Each biographical note i followed bythe person's ilmography. Here is your chance to get all the Kapoors sorted ut: Pyithwse Raj, Shame, Shashi, and Ravi (alias Jeetendra). The second hal of the ‘Pook 1225-461} deseibes some 1460 selected and representative fms ina variety of Tanguages (or silent ordered chronologically from Pundalik (1912) to Thevar Magan (0900) All oricles ae about a paragraph in length, and are apparently written by the two editors with input from many other film scholars and froma wide ange of ‘ataloge and other publications. There sa Lengthy index of Indian films, whether Covered in the text or not [673-568]. Many pages are graced with a production sil "At the outset [31-23] some startling production figures are presented for India— 1288 silent films during 1913-1934, with 200 in 1951 alone. Later there came thou- sands of sound films in SI languages (, totaled up for each ofthe years 1931-1993; * for the last 15 years of which period Tamil, Telugu and Hindi ran neck-and-neck, land together made this into the world’s largest film industry. ‘Some readers may find the Chronology [17-30] a useful background for the rest ofthe book. Year by year (1896-1992) it presents the most prominent film history vents placed alongside the political history. "The editors adm they have been limited in what they could achieve by the ressibility of many, probably most, ofthe films dealt with. Regrettable though itis this ito be expected especialy forthe sient films. But beyond this there were Sevoral curious omssions, surprising because one would certainly have expected seine coverage of them Evidently the term "Indian cinema” in the ile was taken ina fairly narrow, even chauvinistic, way by the editors, so as to exclude wrell- nown films shot India, with some Indian actors, even with national popularity, but deemed to be alien because they were Euro-American productions. Most Ritangot such omasions was Sir Richard Attenborough’ Gandhi which came out aa Hindi version in 1982, was seen all over the courtry, and was subsequently to play a major role in Indira Gandhi's electioncering activites. Te film actualy fics te way int the index of films, but not into the text. Thats more than can be nid for David Lean's Passage to India, which was passed over. Jean Renole’s