Documentary Educational Resources - Indigenous Studies / Economics & Commerce / All Films

Forsaken Fragments

Thu, 14 Feb 2019 12:58:00 GMT

This collection of short films and “uncompleted” fragments made by renowned filmmaker Robert Gardner spans his life and career, and reflects his interests, from ethnography to the art world. Though presented as a set, the pieces stand on their own as riveting cinematic experiences, offering insight into Gardner’s personality and curiosity.

Among the works on the DVD are finished pieces broadcast on local television, such as Gardner’s “non-commercials,” focusing on ordinary life and created as a challenge to broadcast audiences. Other works are unfinished fragments, cherished by Gardner for capturing a tone or a moment. Yet other pieces are constructed from footage gathered while working on other films. These include Supplicating Women and Life Keeps On Passing, which were filmed in Benares while making Forest of Bliss, and The Old Lady, which was filmed while working with the Marshall family in Namibia.

The DVD comes packaged with a full-color 28-page booklet and extra features including selectable director's commentary tracks and an audio recording from Gardner's in-person appearance when an earlier incarnation of Forsaken Fragments screened at the Harvard Film Archive in Cambridge MA in October, 2010.

“Because of Gardner's wide range of fascinations, the sequence of 'fragments' creates considerable cinematic surprise. Several reveal dimensions of Gardner's filmmaking that even some familiar with his career might not be aware of; others reference Gardner's better-known films or offer additional insight into earlier work. Altogether, this is an engaging compilation that exceeds the implications of its title; each film is less a fragment than a cine-haiku; and if these pieces were 'forsaken' during the busy-ness of Gardner's production career and his years of teaching at Harvard, they are not forsaken now."

– Scott MacDonald, Hamilton University

Includes the following films:

The Old Lady, aka A Human Document (4 min, 1958)
In 1957, Gardner visited the Kalahari with John Marshall to help film The Hunters. This short, observing an elderly !Kung woman, was made by Gardner alone while there.

Tide (6 min, 1966)
In the late 1960’s, Gardner visited the tidal flats of Nova Scotia where he filmed this short piece. The film follows an elderly farmer as he directs his horse and carriage across the beach, eventually stopping to fish a weir.

The Photographer (3 min, 1966/2007)
While traveling in Nova Scotia in 1966, Gardner and still photographer Len Gittleman found an old view camera which proved the inspiration for this short homage to the silent film era.

Salt (3 min, 1966)
While traveling northeastern Ethiopia in 1968, Gardner rode with a caravan of Afar camel herders plying the salt trade between the highlands and the salt flats of the Dallol Depression, which he called a “wondrous environment of unbearable heat and intense color.”

Creatures of Pain (5 min, 1968)
Gardner visited Nigeria in 1968, hoping to make a film about sheepherders. Civil war intervened, and he was only able to film this short piece about the “sharo” ritual in a small village near Kano.

Three Non-commercials: Policeman, Lobsterman, Farmer (4 min, 1973)
In the 1970’s, Gardner was involved in the programming of WCVB, an ABC affiliate TV station in Boston. He took this opportunity to make what he called “non-commercials” – short vignettes of people in their ordinary lives – to be shown between programs.

Anthem (2 min, 1973)
In the days of Gardner’s involvement with Boston Broadcasters, Inc and Channel 5, TV stations stopped transmitting for the night – sometime in the early morning. Traditionally stations “signed off” with a clip of the American flag waving as the national anthem played. Bob asked filmmaker Richard Rogers to make a more interesting variation on this theme. Channel 5 declined to use it.

Healing (9 min, 1978)
This film arose from a trip to Ladakh, India, as Gardner searched for a shaman. There, he encountered this tradition of Buddhist healing, which involved trance and music.

Supplicating Women (3 min, 1985)
While shooting in Benares for Forest of Bliss, Gardner stumbled upon a temple frequently visited by women who suffered from ailments including love sickness and familial problems. This fragment details their pleading for healing.

Life Keeps on Passing (4 min, 1985)
Also filmed while on location for Forest of Bliss, this short was Gardner’s attempt to see and hear what local poets had to say about their surroundings. This beautiful short recounts some of their thoughts.

Hauling Sharks (10 min, 1988)
Upon returning to Ethiopia in 1988, Gardner visited the coastal Danakil. There he filmed communities who had developed an environmentally suitable way of netting sharks far out at sea, which they exported to southern Arabian states.

It Could Be Good, It Could Be Bad (6 min, 1997)
In 1997, Gardner joined his friend Robert Fulton to shoot aerial photography in the Southern Chilean Andes. Microphones were rigged to record their conversations as they flew among these extraordinary formations.

Deus Ex Boltanski (11 min, 2010)
In 2010, Gardner and photographer Michael Hutcherson travelled to Paris to make a film about French artist Christian Boltanski as he installed a piece entitled PERSONNES within the immense confines of the Grand Palais.

Still Journey On (20 min, 2010)
In his last years, Gardner worked at intervals constructing a film intended to weave together threads of thought and meaning that ran through his life and films. He took the title from “Keep Right On Till the End of the Road” a song by the Scottish singer, Harry Lauder – a favorite song of Robert’s father, who would play it on the record player every year as the family left the island in Maine where they spent much of the summer. Still Journey On remains a fragment.

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Entretejido

Fri, 16 Nov 2018 09:02:00 GMT

Entretejido
Buy Now: $295.00

Peruvian alpaca wool has held an important place in the rich textile traditions of Andean highland communities for generations. Among today's cosmopolitan elite, the wool has attained the status of luxury item, enhanced by its manufacture at the hands of indigenous artisans and herders. From remote villages to the capital's fashion runways, the wool bridges Peru's rural, indigenous poor and the urban and global fashion world. This supply chain has become a site of development efforts to alleviate poverty and foster social inclusion within Peru’s high-fashion worlds.

Entretejido is an observational-ethnographic film that weaves together the different sites and communities involved in making alpaca wool fashions. Varying representations of indigeneity emerge out of these encounters, which both challenge and reproduce historically-rooted racism.

The film offers an immersive experience of the textures that constitute this supply chain from animal to runway. More than just a sensory experience, however, viewers are confronted with the ways in which everyday items such as clothing are entangled in the racial politics and contested histories of the nation.

SELECTED SCREENINGS & AWARDS

Golden Remi Award, Best Culture and Ethnicity Short Documentary, Houston International Film Festival, 2017

Honorable Mention – Best Graduate Student Film, Society for Visual Anthropology Film Festival, 2016

Taiwan International Ethnographic Film Festival, 2017

La Paz International Film Festival, La Paz, Bolivia, 2017

Ethnografilm Festival, Paris, 2017

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Crying Earth Rise Up

Fri, 12 Oct 2018 14:04:00 GMT

Crying Earth Rise Up
Buy Now: $320.00

Crying Earth Rise Up tells the story of Debra White Plume and Elisha Yellow Thunder’s parallel search for answers to the question: Why are there high levels of radiation in our drinking water and how can we protect our families and community against this threat?

White Plume, a Lakota elder, views nearby uranium mining operations as one source of water contamination and as an encroachment on the water rights of the Lakota Nation. She takes action as the lead plaintiff in a case challenging uranium mining on tribal land, and as an organizer working to motivate her community to protect treaty territory from exploitation of their natural resources by corporate interests.

Yellow Thunder seeks answers in the earth itself. During her pregnancy, she unknowingly drank contaminated water and her daughter, Laila, was born with severe medical anomalies. Laila and family await a kidney transplant. When Yellow Thunder can take time away from caring for Laila, she maps ore outcroppings on the Pine Ridge Reservation in search of uranium and the origins of the contamination.

Meanwhile, community members from the mining town of Crawford, NE, Lakota health and environmental agencies, an organic rancher and project manager of a proposed uranium mine, lawyers involved in White Plume’s case, natural resources officials, a nuclear energy expert, farmers and ranchers, all grapple with the prospect of license renewal at the Crow Butte mine in Nebraska and the proposed expansion of mining operations to three additional mines in northwest Nebraska and western South Dakota.

Observational footage, ruggedly beautiful Great Plains vistas, sit-down interviews, illustrations, and animated graphics combine to address the controversy surrounding the existing and proposed uranium mining operations over the High Plains/Ogallala aquifer. Native actress Tantoo Cardinal narrates the film, supporting its structure, ensuring clarity and acting as a reliable guide for the audience through the story.

The film addresses the direct relationship between water and life itself, and the tragic irony that what is sacred may also be poisoning, even as nuclear power companies insist on the environmental safety of their industry’s practices and townspeople point to the mine’s essential role in fueling the local economy. Through characters who oppose and support the expansion of uranium mining over the High Plains/Ogallala aquifer (the largest fresh water underground source in North America), audiences engage with the important and timely issue of preserving and protecting the land and water.

Native communities are commonly involved in debates about land use and environmental stewardship, particularly in the west, because of the historical exploitation of natural resources found on treaty land, Native religious beliefs that bind the people to nature, the Native philosophy of “seven generations” that mirrors the concept of sustainable ecological practices, etc. Crying Earth Rise Up acknowledges the centrality of Native involvement in opposing the particular practice of uranium mining and suggests Native communities’ wider spread contribution to a variety of other conversations related to environmental protection (although not always noted by mainstream media, e.g. the recent blocking of the TransCanada Keystone XL Pipeline).

SELECTED AWRDS AND SCREENINGS

Winner, John Michaels Award, Big Muddy Film Festival, 2015

Athens International Film Festival, 2015

Society for Visual Anthropology Film Festival, 2015

Portland Oregon Women's Film Festival, 2016

One Earth Film Festival, 2017

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Children of the Land

Thu, 30 Aug 2018 08:16:00 GMT

Children of the Land
Buy Now: $295.00

Nature gives us everything for free, says a Yanomami chief - "all that nature asks in return is that we protect it." In Children of the Land, Brazilian Indian leaders discuss their careful and sustainable use of the land. The forest provides indigenous people with food, medicine and supplies, and they know that they have to preserve these for future generations. This is reflected in their sustainable lifestyle; the Ashaninka calendar, for example, measures seasons by the reproductive cycles of plants and animals so as to keep these populations healthy. The Baniwa make woven baskets for sale in department stores, and the Ashaninka harvest Mumuru, a plant product used in the cosmetics industry, for sale. However, both groups make sure not to abuse their resources for these ventures, and use them as a vehicle for promoting their culture.

Films in the Indians in Brazil series:
A Different Story
The First Contacts
From the Other Side of the Sky
Our Languages
Our Rights
Our Territory
Who Are They?

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Diary of a Maasai Village, Part 1

Thu, 30 Aug 2018 07:04:00 GMT

Diary of a Maasai Village, Part 1
Buy Now: $320.00

The Prophet's Village examines the problem of maintaining enough cattle to supply milk and meat versus selling off cattle to raise money for maize, antibiotics and pesticides; cash is also needed to pay for legal fees for Rerenko, the Laibon's son.

About the Diary of a Maasai Village series

This series of five films by Melissa Llewelyn-Davies looks at daily life among the Maasai. The films are presented as a diary of a 7-week visit to a single village. The structure is episodic and the content dependent on various events or stories, some of which are developed through more than one film. The tapes can be used independently or together, to give an in-depth sense of Maasai life. The series includes the following five films:

Part 1: The Prophet's Village

Part 2: Two Ways Of Justice

Part 3: Two Mothers

Part 4: Two Journeys

Part 5: Nine Cows And An Ox

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Himalayan Herders

Wed, 29 Aug 2018 13:27:00 GMT

Himalayan Herders
Buy Now: $320.00

Himalayan Herders is an intimate portrait of a temple-village in the Yolmo valley of Central Nepal where Tibetan Buddhists consult shamans, married life begins by kidnapping the bride, and the nearest road is a two-day walk away. The community drama of marriage, death, and rituals is juxtaposed with the rich texture of daily life, both in the village and the surrounding mountains and forest where these pastoralists herd zomo, a cross between a cow and a yak, which thrives in middle altitude pastures between 8,000 and 14,000 feet. Cultural change, in the form of a government primary school, incorporation into a national park, and circular migration for wage labor outside Nepal, is discussed by residents in interviews.

A twenty-five-year-long collaboration between an ethnographer and a documentary filmmaker, the film provides rich material for examining gender, cultural change, religion, pastoralism, South Asia, and the cultural ecology and economics of mountain populations. An ethnography, Himalayan Herders, published by Harcourt Brace in fall 1997 as part of the Case Studies in Cultural Anthropology Series, provides a companion volume to the film.

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Kuo Hina E Hiapo

Wed, 29 Aug 2018 11:13:00 GMT

Kuo Hina E Hiapo
Buy Now: $295.00

Tapa cloth, or ngatu as it is called in Tonga, is cloth made from the bark of the mulberry tree. The inner bark is beaten into fine sheets and painted using traditional designs. After centuries of use, ngatu has literally become the fabric of Tongan society. In Tonga and throughout much of Polynesia, bark cloth has deep symbolic and ceremonial use. At birth, babies are swaddled in it. At marriage, newlyweds line their wedding bed, and at death, the departed are buried wrapped in it.

This documentary investigates the highly collaborative process of making ngatu and the organizations of women who carry on with the tradition. While the process continues to be passed on from generation to generation, there are signs of change as a cash economy begins to infiltrate Tongan life. Young people show less interest in such labor intensive endeavor in the face of the older generation's belief that this tradition will never die.

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The !Kung San: Resettlement

Wed, 29 Aug 2018 11:13:00 GMT

The !Kung San: Resettlement
Buy Now: $295.00

In comparison to !Kung San: Traditional Life, this video shows some of the dramatic changes in life-style that Ju/'hoansi had experienced by 1986. No longer able to rely on hunting and gathering for subsistence, Ju/'hoansi collect mealie meal welfare, spend money earned from army jobs on alcohol and consumer goods, and live in a crowded area with increased fighting and illness. With a move back to traditional lands and development of cattle herding and subsistence agriculture, there is hope that Ju/'hoansi can be successful in a mixed economy.

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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A Kalahari Family, Part III

Wed, 29 Aug 2018 11:12:00 GMT

A Kalahari Family, Part III
Buy Now: $340.00

Ju/'hoan farming communities multiply during the 1980s only to face a new threat. The Department of Nature Conservation wants to create a game reserve on Ju/'hoan territory. People will be forbidden to raise livestock or crops. Instead, Ju/'hoansi will be encouraged to act like "Bushmen" and hunt for the amusement of tourists. Urgent grass roots organizing ensues as the people seek to control their traditional lands.

About A Kalahari Family

A Kalahari Family is a five-part, six-hour series documenting 50 years in the lives of the Ju/'hoansi of southern Africa, from 1951 to 2000. These once independent hunter-gatherers experience dispossession, confinement to a homeland, and the chaos of war. Then as hope for Namibian independence and the end of apartheid grows, Ju/'hoansi fight to establish farming communities and reclaim their traditional lands. Through depiction of their efforts of the Ju/hoansi to participate as farmers in the contemporary economy and advocate for their rights to do so, the series challenges stereotypes of primitive and unchanging "bushmen."

The five films in the series are:

Part One: A Far Country
Part Two: End Of the Road
Part Three: Real Water
Part Four: Standing Tall
Part Five: Death By Myth

SELECTED SCREENINGS & AWARDS

Best Environmental TV Series, FICA - International Festival of Environmental Film & Video, Brazil, 2003

Special Prize: Homage to the Films of John Marshall; Bilan du Film Ethnographique, Paris, 2003

Grand Jury Award, Best in World Cinema, DC Independent Film Festival, Washington DC, 2003

Basil Wright Film Prize, RAI 8th Ethnographic Film Festival, England, 2003

Jury Award, Athens Film Festival, 2003

Environmental Anthropology Prize, CineEco Festival, Portugal, 2003

Best Film, Jury Award, XII International Festival of Ethnographical Films, Nuoro, Italy, 2004

Visit the A Kalahari Family Microsite for more detailed information.

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A Kalahari Family, Part V

Wed, 29 Aug 2018 11:12:00 GMT

A Kalahari Family, Part V
Buy Now: $340.00

Namibian independence attracts vast amounts of international aid, but development programs no longer benefit Ju/'hoan farms. We witness the power of the "Bushman myth." This myth - a belief that Ju/'hoansi live uniquely in harmony with nature and are born to hunt. Promised great wealth, Ju/'hoansi vote to establish a nature conservancy. When their profits are a meager 75 Namibian dollars ($10.50 US) each, Ju/'hoansi ask, "Where is all the money going?"

About A Kalahari Family

The five films in the series are:

Part One: A Far Country
Part Two: End Of the Road
Part Three: Real Water
Part Four: Standing Tall
Part Five: Death By Myth

SELECTED SCREENINGS & AWARDS

Best Environmental TV Series, FICA - International Festival of Environmental Film & Video, Brazil, 2003

Special Prize: Homage to the Films of John Marshall; Bilan du Film Ethnographique, Paris, 2003

Grand Jury Award, Best in World Cinema, DC Independent Film Festival, Washington DC, 2003

Basil Wright Film Prize, RAI 8th Ethnographic Film Festival, England, 2003

Jury Award, Athens Film Festival, 2003

Environmental Anthropology Prize, CineEco Festival, Portugal, 2003

Best Film, Jury Award, XII International Festival of Ethnographical Films, Nuoro, Italy, 2004

Visit the A Kalahari Family Microsite for more detailed information.

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