Documentary Educational Resources - Indigenous Studies / Cross-Cultural Relations / All Films

Goodbye, Captain

Wed, 13 Mar 2024 14:42:23 GMT

Goodbye, Captain relates the story of Brazil's indigenous Gavião people and their efforts to maintain their language, livelihood, and identity throughout a half-century of upheavals. At the center of this historical narrative is "Captain" Krôhôkrenhum Jopaipairé, leader of the Gavião community in the south of Pará. Krôhôkrenhum shares the history of his people and details his commitment to restoring the community’s cultural traditions.

Krôhôkrenhum’s tells filmmaker Vincent Carelli the history of his community, beginning with the wars of the “brave Indian” and the terrible devastation that began with contact with the kupen or white man, who brought with them new diseases and left few survivors scattered around the region. Further encroachment of the kupen resulted in the loss of Gavião lands and resources, including the nut trees that offered them economic independence, the imposition of slave labor, and a generation raised outside of their culture and language.

As the story continues, strategic alliances with other Gavião groups enable Krôhôkrenhum and his people to rebel against harmful government policies and ultimately gain control of their plantation and obtain financial autonomy. Contact with other Gavião groups also inspires Krôhôkrenhum and the community to revitalize the Gavião language and ceremonies.

Woven throughout this history is the relationship between the captain and Vincent Carelli, who began filming the community using a VHS camera in 1987. The film opens with Carelli’s return of an audio-visual archive to the Gavião community and the promise of fulfilling Krôhôkrenhum’s wish to maintain the memory of his people.

Selected Screenings & Awards

Prix Mondes en Regards, Jean Rouch International Ethnographic Film Festival, France, 2023
Sheffield International Documentary Festival, United Kingdom, 2022

Doclisboa International Film Festival, Portugal, 2022

IDFA (International Documentary Film Festival), Amsterdam, 2022

It’s All True - International Documentary Festival, Brazil, 2022

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Death of the One who Knows

Mon, 9 May 2022 15:10:55 GMT

Death of the One who Knows
Buy Now: $320.00

In the Toraja highlands of Sulawesi (Indonesia), Lumbaa is one of the last masters of ritual speech. After his forced conversion to Pentecostalism, he is compelled to stop all his ritual activity and oratory. Concerned by the disappearance of “those who know”, a young Catholic priest named Yans Sulo sets out in search of the society’s ancient oral genres, seeking to invent new forms that would keep them alive. The two men meet. But it is too late. By recounting the life and death of Lumbaa, the film shows how the intrusion of world religion disrupts a Southeast Asian society.

"This documentary concerns the struggle to keep Aluk Todolo and its rituals alive in the face of government efforts at erasure. There is a beauty, order and moral sophistication to Lumbaa. He gently draws our attention to painful tensions between morality, tradition, religion and daily village life. Rappoport locates his story within a narrative concerning Christianity, colonialism, globalisation and disruption... Rappoport's film documents important and threatened customary knowledge in her focus on this ritual leader and his prowess. Ethnomusicology and documentary cinema are powerful tools in understanding the complex way in which ritual change is a corollary to socio-political contestation. Its brilliance is haunting." – Tanisha Jowsey, The Asia Pacific Journal of Anthropology

Selected Screenings & Awards

Honorable Mention, Best Documentary, International Council for Traditional Music, 2022

Honourable Mention, Werbner Award for Visual Anthropology, RAI Film Festival, 2021

AAS 2022 Film Expo, USA, 2022

Riga Pasaules Film Festival, 2021

Bayonne Film Festival Haizebegi, 2021

Maison de l'Asie (EFEO), 2021

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Close Encounters of No Kind

Thu, 30 Aug 2018 08:16:00 GMT

Close Encounters of No Kind
Buy Now: $320.00

Close Encounters of No Kind follows the Rabari, camel and sheep herders of Saurastra, India. Their nomadic lifestyle requires them to move herds of sheep and camels across the Saurastrian landscape to seek grazing and water. This practice has been going on for hundreds of years and during that time the Rabari have developed close working relationships with many groups and deeply adverse relations with other groups.

Traveling with the Rabari through the region of Jhalavad for a period of two months as they drift eastwards on their out migration, the film consists of a series of conversations with different caste groups about the Rabari way of life and their relations with the Rabari. It is a culture of tension and distrust; all of the interdependent caste groups are wary of the Rabari and of each other. While there are no actual encounters between the groups in the film, they accuse each other of inappropriate conduct and irresponsible character in their conversations with the filmmaker. He is not spared either; they accuse him of profiteering from this filmic exploration.

This film is then a traverse of two landscapes: the physical arid region of Jhalavad and the internal and imagined world of Rabari intercaste relations with Hindu and Muslims castes who are their partners in life. The film addresses issues related to social relations, pastoralism, ecology and land resource management. It would be useful for ethnographic and documentary film classes where the approach for conversational engagement as a tool for understanding social dynamics is prioritized and where new presentation of subtitling to differentiate different voices in group conversations is presented.

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Cowboy and Maria In Town

Thu, 30 Aug 2018 08:16:00 GMT

Cowboy and Maria In Town
Buy Now: $320.00

Attracted by the myths of town life and the chance of work, people from villages all over Papua New Guinea have come to the towns. Cowboy and Maria in Town tells the story of two such migrants living in the settlements that surround the capital, Port Moresby. Cowboy is a reformed 'rascal'- unemployed and illiterate with a criminal record. He invents an electric guitar out of scrap materials and plays his distinctive rock-and-roll on street corners, earning just enough for his family to get by. Maria lives an equally precarious existence. Seasonal gardening and her husband's small income as a night security guard are their sole means of survival. Only her resilient humor keeps her going when inter-tribal conflicts, inflamed by frustration and alcohol, erupt in the settlement. Cowboy and Maria are vital players in the new urban Papua New Guinea. Their interwoven stories highlight the consequences of urban drift, where traditional and Western values meet. These intelligent and determined optimists are far from being Third World victims; they go about their daily lives with humor and imagination, rising to the enormous cultural changes that confront them.

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Dead Birds Re-encountered

Thu, 30 Aug 2018 07:04:00 GMT

Dead Birds Re-encountered
Buy Now: $320.00

In 1961, Robert Gardner organized an expedition to the Highlands of New Guinea to film the Hubula [known as Dani* outside of the community]. He stayed for six months to create an essay on the themes of violence and death most dramatically witnessed within the intense ritual warfare between rival Hubula villages, and ultimately on the role of violence in human life and culture. The end result was his seminal film, Dead Birds.

Twenty-eight years later, Gardner returned to the Hubula villages to see what had become of the people he had met and to show them the film. Dead Birds Re-encountered is a captivating, reflexive epilogue. The film observes the changes nearly three decades have brought to Hubula life and culture, raising questions about modernization, tourism, cross-cultural relations, and the meaning of friendship.

"I have been told by people who know better that it is a risky business returning to a place where you have enjoyed some remarkable experience. But I will say that going back to the Highlands of Western New Guinea (aka West Papua) was enormously engaging. I saw people I cared for deeply and who became part of my life wherever I lived. Making a film about all this was not at all difficult." — Robert Gardner

*Note on term “Dani”

The preferred name for the community in this film is Hubula. The name "Dani" as used in this film is an exonym used by Moni, a neighboring group of people living west of the Baliem Valley. The name has been reproduced in many colonial and postcolonial texts, even until today.

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First Contact

Wed, 29 Aug 2018 14:53:00 GMT

First Contact
Buy Now: $320.00

The classic film of cultural confrontation that is as compelling today as when it was first released over 35 years ago.

When Columbus and Cortez ventured into the New World there was no camera to record the drama of this first encounter. But in 1930 when the Leahy brothers penetrated the interior of New Guinea in search of gold, they carried a movie camera. Thus they captured on film their unexpected confrontation with thousands of Stone Age people who had no concept of human life beyond their valleys. This amazing footage forms the basis of First Contact. Yet there is more to this extraordinary film than the footage that was recovered. Fifty years later some of the participants are still alive and vividly recall their unique experience.

The Papuans tell how they thought the white men were their ancestors, bleached by the sun and returned from the dead. They were amazed at the artifacts of 20th century life such as tin cans, phonographs and airplanes. When shown their younger, innocent selves in the found footage, they recall the darker side of their relationship with these mysterious beings with devastating weapons. Australian Dan Leahy describes his fear at being outnumbered by primitive looking people with whom he could not speak. He felt he had to dominate them for his own survival and to continue his quest for gold.

First Contact is one of those rare films that holds an audience spell-bound. Humor and pathos are combined in this classic story of colonialism, told by the people who were there.

Films in the The Highlands Trilogy

First Contact

Joe Leahy's Neighbors

Black Harvest

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First Film

Wed, 29 Aug 2018 14:53:00 GMT

First Film
Buy Now: $340.00

First Film was edited and narrated by Lorna Marshall and is comprised of footage shot in 1951 on the second Marshall family expedition to the Kalahari Desert. It is intimate in style, very carefully filmed, with a wealth of practical information about the material culture and structure of Ju/'hoan (!Kung Bushmen) hunter-gatherer society. The film allows viewers to see some of John Marshall's earliest film footage and provides an interesting comparison with the more sophisticated shooting found in his later work.

This film is part of the !Kung Series.

Orthography Note
The group of people depicted in these films are the Ju/'hoansi, speakers of the Ju/'hoan language. Ju/'hoan is part of the !Kung language group; the term !Kung was previously used by the Marshall family and others to refer to Ju/'hoansi. Although the term is outdated, it has been retained here for the sake of consistency with John Marshall's previously published work. The films and their related printed materials also employ antiquated spellings of names and places. For current Ju/'hoan orthography, please see the Ju/'hoan - English Dictionary, compiled by Patrick Dickens and the Ju/'hoan Peoples Literacy Committee.

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Framing the Other

Wed, 29 Aug 2018 14:53:00 GMT

Framing the Other
Buy Now: $295.00

The Mursi tribe resides in the basin of the Omo River, in the east African state of Ethiopia. Mursi women are known for placing large plates in their lower lips and wearing enormous, richly decorated earrings, which has become a subject of tourist attraction in recent years. Each year, hundreds of Western tourists come to see the unusually adorned natives; posing for camera-toting visitors has become the main source of income for the Mursi. To make more money, they embellish their “costumes” and finery to appear more exotic to the outsiders. However, by exaggerating their habits and lifestyle in such a manner they are beginning to cause their original, authentic culture to disintegrate.

Framing the Other portrays the complex relationship between tourism and indigenous communities by revealing the intimate and intriguing thoughts of a Mursi woman from Southern Ethiopia and a Dutch tourist as they prepare to meet each other. This humorous, yet simultaneously chilling film shows the destructive impact tourism has on traditional communities.

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Funeral Season

Wed, 29 Aug 2018 14:53:00 GMT

Funeral Season
Buy Now: $320.00

“We pray to our ancestors but we do not worship them. You, you need an intermediary, the priest. But for us, our intermediary is the ancestor who is sitting next to God,” says Poundé, the old Cameroonian ethnologist, to the young Jewish director from Canada. And with this conclusive statement, everything becomes clear: the funerals in memory of “the dead who are not dead” organized several days or even years following the burial, the chants, brass bands and traditional dancers who accompany and punctuate the village rituals. The ancestral rites struggle to survive in a continuously westernized society of consumption by parading wealth and excess for all to see — even the dead. Funeral Season takes the viewer through the red dust of Cameroon's laterite slopes and into the heart of the Bamileke country, where one funeral flows into the next. These death celebrations provide an opportunity to see elaborate costumes and masks, festive songs and dances, and lavish feasts, while illuminating the communal links which bind the Bamileke as an ethnic group and society. Along the way, the director befriends his guides and becomes increasingly haunted by memories of his own ancestors. At times, the dialogues alienate him from the locals; at other times they bring the two closer together. Like the dead and the living, they belong to two different worlds often mirroring each other. There is a lightness to be found in this subjective ethnographic film which imaginatively and symbolically turns the gazes of two different worlds upon each other.

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A Frontier Conversation

Wed, 29 Aug 2018 14:52:00 GMT

A Frontier Conversation
Buy Now: $320.00

A fascinating journey through the Top End of Australia to explore what history means to the traditional landowners.

A Frontier Conversation documents a unique collaboration between indigenous and white historians from Australia and North America. In September 2004, a diverse group travelled through the Top End of Australia meeting representatives of the traditional landowners, and engaging in a dialogue about indigenous history. The themes that emerged raised more questions than answers - from cultural appropriation and copyright, to land rights, the role of language and art, and what history means to indigenous communities in the current climate of cultural reclamation and survival. Narrated by Professor Ann McGrath, Director of the Australian Centre for Indigenous History at the Australian National University, A Frontier Conversation is a fascinating and thought-provoking account of a journey that breaks away from "the History Wars" and signals the first step in a new approach to the study of frontier history.

"A Frontier Conversation asks intriguing questions, and has some unexpected answers. At one level, it's a very simple and watchable film about a group of historians from Australia and the United States visiting Indigenous people in the Northern Territory, and talking with them about the importance of history. As the film progresses, we realise that its concerns are not simple at all. They are nothing less than the complex problem of the very different uses that history is put to in different cultural settings, and its varied meanings and consequences as a result. The film asks some difficult questions: such as how valuable can histories written by outsiders to any community be? What are the responsibilities of the historian, Indigenous or not, to the people whose stories he or she attempts to tell?"
— Ann Curthoys, Manning Clark Professor of History, Australian National University

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