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In the era of social media and digital cameras, street photography, or the candid documentation of everyday life in public space, has seen a resurgence of interest worldwide. What draws people to the genre is its ability to transform the way they see and experience the spaces around them. Street photography, I argue here, is a mode of shadow worlding, a dynamic and collaborative place‐making practice in which the places being built are left deliberately inchoate and incomplete. Based on several weeks of participant observation among street photographers in two Indonesian cities, this article considers what happens when we begin to see and experience the way a street photographer does. I tell the story of several Indonesian street photographers, as well as describe my own experiences with street photography, to demonstrate the potential of the genre for reimagining and reworking our relationships with the cities we live in and the fieldsites we pass through. [ABSTRACT FROM AUTHOR]

ABSTRACT: Nonhuman primate appearance and behavior can be better understood through documentary footage than through verbal explanation alone. Many college instructors show primate documentary films in their courses, but little research has evaluated primate documentaries as teaching tools. We sought to determine the prevalence of documentary use in teaching and which characteristics of documentaries affect their use. An online survey queried 219 college‐level anthropology instructors about their use and perceptions of primate documentary films. Most instructors (96.3 percent) showed documentaries in the classroom, incorporating new documentaries when available. Several multispecies documentaries were widely used. Documentaries rated high in usefulness for teaching purposes were seen as more entertaining and accurate, and as less anthropomorphic and misleading, with usefulness unrelated to perceptions that films were conservation oriented. Documentary selection was driven by teaching usefulness, availability, and the number of species in the film. In addition, we created the Primate Films Database, a comprehensive database of primate documentary films with reviews, runtimes, featured‐species identifications, and teaching‐usefulness ratings provided both by our participants and us. It is a publicly available online resource designed to raise awareness of primate documentary films as educational tools and to facilitate more widespread use of high‐quality multimedia resources in anthropology classrooms. [biological anthropology, documentary film, primates, visual anthropology] [ABSTRACT FROM AUTHOR]

The article talks about World Anthropologies and debates related to the topic in journals such as American Anthropologist (AA), American Antiquity, and American Ethnologist. The editor discusses several anthropological writings by authors contributed to the AA. He also presents an introduction to the magazine and notes that the current issue includes topics like forensic anthropology and visual anthropology along with obituaries for anthropologists.

A photo essay which documents the visual anthropology in Montmartre in Paris, France.

The article presents an interview with Evelyn Alsultany, an associate professor in the Department of American Culture at the University of Michigan in Ann Arbor. Alsultany describes her approach to studying visual culture and the connection of her work to visual anthropology. She also talks about the Arab Stereotypes project, an online exhibit, and the digitization of visual media.

The article presents an interview with Gisela Cánepa, an anthropology professor at the Pontificia Universidad Católica del Perú (PUCP), and María Eugenia Ulfe, chair of the master's program in visual anthropology at PUCP. They discuss the idea to open a master's program in visual anthropology at the university. They talk about some of their anthropological research and the involvement of other college departments in the program.

An interview with Erica Lehrer, a sociocultural anthropologist and curator, an associate professor and the Canada Research Chair in Museum and Heritage Studies in the departments of History and Sociology-Anthropology at Concordia University, is presented. She talks about her career in anthropology. She discusses her approach to visual anthropology. Also, she describes the Centre for Ethnographic Research and Exhibition in the Aftermath of Violence which she directs.

An interview with Alan Macfarlane, Professor Emeritus and Life Fellow of King’s College, University of Cambridge, is presented. When asked about his interest in visual anthropology, he explains it was accidental. He discusses the influence of filmmaker Christoph von-Fürer Haimendorf, his work in ethnographic filmmaking, and his fieldwork in India and China.

Sensory ethnography is an emerging trend within visual anthropology, with practitioners focusing on at least two different aspects: the aesthetic-sensual and the multisensory-experiential. The former has found expression in some of the observational films of Robert Gardner and his intellectual progeny at the Harvard Sensory Ethnography Lab. The latter can be seen in the work of Sarah Pink, Paul Stoller, and David MacDougall. [ABSTRACT FROM AUTHOR]

In 2008, the Society for Visual Anthropology reconceived and redesigned its website to create a communications infrastructure that is sustainable, flexible, aesthetically engaging, and responsive to the needs of diverse users. The site utilizes blogging and social-media principles to more efficiently distribute information and to promote and archive the activities of the society's annual Film, Video, and Interactive Media Festival and Visual Research Conference. [ABSTRACT FROM AUTHOR]

Two decades ago the Granada Centre for Visual Anthropology (GCVA) at the University of Manchester, U.K., was created. Since then it has become one of the most acclaimed postgraduate visual anthropology schools in the world, providing a space for theoretical debate and training in ethnographic filmmaking techniques. Conceived originally as a master's program under the sponsorship of Granada Television and the University of Manchester, it has now extended training to the Ph.D. level to students from around the world. In this interview, Professor Paul Henley, GCVA‘s director since its inception, reflects on the last 20 years of the Granada Centre, ethnographic filmmaking, the state of the art in theory and practice in visual anthropology, and new possibilities and challenges for the future. [Keywords: visual anthropology, ethnographic filmmaking, documentary, Granada Centre for Visual Anthropology] [ABSTRACT FROM AUTHOR]

For 12 days in May 2005, the Museum of Modern Art (MoMA) in New York and the Smithsonian's National Museum of the American Indian (NMAI), as well as several other screening venues in Washington, D.C., hosted a group of renowned indigenous filmmakers from around the globe for the ground-breaking film showcase, ‘First Nations\First Features: A Showcase of World Indigenous Film and Media.’ This film showcase highlighted the innovative ways in which indigenous filmmakers draw on indigenous storytelling practices to create cinematic visions that honor their long-standing indigenous cultural worlds while reaching local and world audiences. In this essay, I highlight the onscreen impact through an analysis of several films featured in First Nations\First Features, as well as the offscreen impact emphasizing how the indigenous directors used this opportunity to strengthen social networks and share experience in this industry, which may develop into future collaborative film projects. [ABSTRACT FROM AUTHOR]

International film festivals are entangled spaces in which filmmakers and audiences negotiate aesthetic, ethical, political, and practical traditions and communities. This review of the Second Moscow International Visual Anthropology Film Festival explores some of the differences in ethics, practice, and priorities of anthropological filmmaking between Russia and the West. By providing a brief history of Soviet anthropology and a discussion of the festival's main themes, this review explores some of the historic and contemporary influences shaping the development of (one particular strain of) visual anthropology in post-Soviet Russia. [ABSTRACT FROM AUTHOR]

Throughout his career and through his films, John Marshall has embodied many representational debates in anthropology and ethnographic media production. With A Kalahari Family, Marshall has provided his most reflexive film to date as well as a comprehensive visual record of 50 years of transition among the Ju/'hoansi, from lingering, hunter-gatherer subsistence to problematic and often tragic contemporary living conditions. A Kalahari Family bears witness to the negative effects a racist ideology and varied development agendas have had on an indigehous group of people, and the transformative effects they continue to have. In the film, the audience also witnesses the evolution of John Marshall himself, from naive, inexperienced teenager engaging an exotic other, with all the inherent cultural baggage of a Western perspective, to his eventual emergence as a filmmaker and a dedicated advocate for the people with whom he has become so involved. [ABSTRACT FROM AUTHOR]

This is an interview with Zapotec video maker Juan Jose Garcia, president of the award-winning media organization Ojo de Agua Comunicacion, in Oaxaca, Mexico. He presents a brief history of native video in Mexico and discusses issues such as indigenous video production and circulation, thematic content, communal practices, relation to indigenous communities, funding, and current projects of his group. [ABSTRACT FROM AUTHOR]

Using the discussion of self-reflexivity as an organizing principle, this article examines how mobilizing digital video technology during fieldwork opens up empirical and theoretical space for reconceptualizing the relationship between anthropologists and informants. Placing the field of visual anthropology into critical conversation with long-standing theoretical arguments about the objectivist limitations of native anthropologists, I argue that the slipperiness of nativity as an anthropological designation helps to provide analytical tools for examining filmmaking as a kind of gift-giving process between native ethnographic filmmakers and the subjects of their films. This article highlights some of the ways in which my own filmic and videographic exploits in Harlem, New York, mark integral connections between seeing and being the proverbial other, probing social exchanges predicated on the usefulness of low-budget digital technology as a means of fostering politically and epistemologically valuable ethnographic collaborations. [ABSTRACT FROM AUTHOR]

An interview with The Visual Anthropology Society at Temple (VAST) is presented along with information on the VAST Futures of Visual Anthropology (FVA) conference. When asked about the ideas that was to be considered at the VAST conference VAST mentions the anthropology of visual communication. VAST's conference included panels, moderated discussions and a film festival.

The article discusses film "In the Wilderness of a Troubled Genre"by John Bishop. Topics discussed include ethnographic filmmakers, anthropologists and ethnographic film. Other topics such as visual anthropology and other films including "Ongka's Big Moka" and "The Hunters" are also discussed. Film audiences are also mentioned.