Documentary Educational Resources - Subject / Social & Cultural Life / Family and Kinship / All Films

Co-Husband

Wed, 18 Sep 2024 18:51:34 GMT

Co-husband is a portrait of the practice of fraternal polyandry in the communities of the indigenous Humlo people in the Humla district of Nepal. Told from the perspective of the wives and husbands as well as the members of the community who reject this model, the film explores the economic, cultural and emotional dimensions of this custom and the social consequences for those who don’t practice it.

This family structure is closely related to the caravan trade, when men were absent for long periods of time– traveling for up to eight months at a time to transport salt from Tibet and rice from the Achham region. On the one hand, this limited their time together at home, and on the other, from an economic perspective, it allowed them to share resources, reduce land division and have a larger support system, which enabled them to prosper economically. However, with the continuing decline in this form of work and the rise in unemployment, everyday life has changed and individual needs have shifted, which raises the question of whether polyandry will continue to be practiced.

Nepalese filmmaker Ganesh Panday’s documentary invites a dialogue about how different a household and a family can look, what economic considerations go into such a structure, how to define a ‘successful’ household and what role love plays in marriage.

“A deeply human and visually stunning exploration of love, duty, and family in the high Himalayas, offering a rare glimpse into the intimate rhythms of fraternal polyandry. More than an ethnographic study, it’s a moving portrait of resilience and connection that expands our understanding of what kinship can mean in South Asia and in the world.” – Prof. Harjant Gill, President, Society for Visual Anthropology

SELECTED SCREENINGS & AWARDS

Best Short Film, Society of Visual Anthropology Film and Media Festival, USA, 2023

Bronze Award, Meihodo Int'l Youth Visual Media Festival, Japan, 2023

Best Documentary Film, Gateway Int'l Film Festival, Canada, 2023

Best Int'l Documentary Film, Cobb Inte'l Film Festival, USA, 2022

London Mountain Film Festival, UK, 2023

Best Documentary Film, Shimla Int'l Film Festival, India, 2021

Best Documentary Film, Nepal-Africa Film Festival, Nepal, 2021

29th Int'l Festival of Mountain Films Poprad, Slovakia, 2021

Best Documentary Film, Nepal Int'l Film Festival (NIFF), Nepal, 2020

Grand Prix Award, Kansk Int'l Video Festival, Russia, 2020

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Wawan's Prayer

Wed, 15 Jun 2022 10:39:30 GMT

Wawan's Prayer
Buy Now: $460.00

Wawan is an autistic boy from Banjarmasin, Indonesia. Struggling to meet his needs at home, his parents make the difficult decision to send him to a brand new school on another island to receive specialized education and therapeutic support. Together Wawan and his teacher, Yasin, learn how to build an inclusive community for youth on the spectrum that accommodates their differences and celebrates their abilities. As the school grows, Wawan matures into a young man respected for his skill in prayer recitation.

This film is sold as a part of a set which also includes All God's Children.

Selected Screenings & Awards

Society for Visual Anthropology Film and Media Festival, Toronto, 2023

German Int'l Ethnographic Film Festival, Göttingen, Germany, 2022

SEAxSEA: Southeast Asia x Seattle Film & Literature Festival, Seattle, USA 2022

Quarter Finalist, Reel-Abilities Film Festival: New York, New York, USA 2022

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All God's Children

Wed, 15 Jun 2022 10:39:29 GMT

All God's Children
Buy Now: $460.00

Well over half a million children in Indonesia are on the autism spectrum and have varying difficulty with social interaction and communication, as well as uneven access to resources, education and services. “All God’s Children” tells the story of Idris, a nonverbal autistic teenager living in rural Central Java. Idris’s mother, Isti, struggles to understand Idris and meet their basic needs, especially since the two moved away from Idris’s neurotypical twin brother and biological father over thirteen years ago. Shot over the course of five years, the film follows Idris and Isti to traditional healers, biomedical treatment centers, specialized schools, activist organizations, and community gatherings as they seek the acceptance and support they long for. As the family ultimately finds new avenues to healing and hope, the film also tells a story of how grassroots disability awareness movements, local cultural models of inclusion, and religious principles can unite to better support all members of a community.

This film is sold as a part of a set which also includes Wawan's Prayer.

“All God's Children promotes an awareness of grassroots disability in Indonesia. The film itself has a lot of heart. It’s very empathetic and kind to its interlocutors. We also want to recognize the film for its exceptional technical achievements. Its editing, it’s really truly exceptionally edited. And the long term ethnographic research that went into making it, which is evident in the final outcome. The film is a wonderful example of ethnographic storytelling.” – RAI Film Festival, Werbner Award committee

Selected Screenings & Awards

Commendation – Werbner Award, Royal Anthropological Institute (RAI) Film Festival, USA, 2023

Best Ethnographic Film, New York International Film Awards, New York, 2021

Finalist - Best Documentary Film, 4th Dimension Independent Film Festival, Bali, Indonesia, 2021

Golden Door International Film Festival, New Jersey, 2022
Society for Visual Anthropology Film and Media Festival, Vancouver, BC, 2019

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Faces of Change: Afghanistan

Fri, 7 Sep 2018 09:20:00 GMT

Faces of Change: Afghanistan
Buy Now: $495.00

Shot in 1972, these five films present a portrait of Afghan life in the last months before the Russian invasion.The films capture the daily economic and social exchanges in the market town of Aq Kapruk, an area inhabited by Tajik and other Central Asian peoples, 320 miles northwest of Kabul.

Situated along Balkh River, this agricultural community depended primly on wheat farming and a pastoral economy. These films offer a window into an Afghanistan on the cusp of change, and serve as a record of the culture and life ways of its rural people.

"These five films portray different aspects of technology, economic arrangements and social life in the village of Aq Kupruk in northern Afghanistan. The area is hilly, intensely arid, the elevation is about 2000 feet, the population consists mainly of Tajikagriculturalists. There is a substantial bazaar at Aq Kupruk and the valley lies on the migration track of Pushtun pastoral nomads. Clearly the area comprises the three main segments of Afghan society: the bazaar sector, the farmers, and the nomads."
— Asen Balikci, American Anthropologist, 1977

Films in the Afghanistan series

About the Faces of Change Collection

Faces of Change is comprised of 25 films that examine five cultures selected for their distinct geographic locations: starting with the China Coast at sea level and moving up to Taiwan, then to Afghanistan, Kenya and finally to the mountains of Bolivia. Each location is examined through five themes: Rural Society, Education, Rural Economy, Women, and Beliefs.

This innovative collection of 16mm films and videos was funded by the National Science Foundation, produced by Norman Miller and directed by some of the finest ethnographic filmmakers of its time.

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Faces of Change: Bolivia

Fri, 7 Sep 2018 09:20:00 GMT

Faces of Change: Bolivia
Buy Now: $495.00

Faces of Change: Bolivia includes a series of six short films about Andean peasant life. Film in 1973, the Bolivian expedition took an educational film crew into remote Muñecas Province east of Lake Titicaca, some 10 road hours from La Paz. The area is populated by Aymara and Quechua speaking Indians and people of mixed Spanish-Indian descent.At an altitude of over 12,000 feet, people survive on a mixed economy of potato farming, other high altitude vegetables, and small animal husbandry. Conflicts over land ownership, age-old control by rich "mestizos"(still referred to as "conquistadors"), poor health facilities, and a struggling education system makes this prize winning collection invaluable to teachers and those interested in Latin America.

The filmmaker Hubert Smith has returned to the area on two occasions to help build a better school system, which in the 1990s was recognized as a national school of excellence by the Bolivian government.

"The Bolvian Aymara series (comprising six films, rather than five like the others) is one of the most thorough-going documentations of Andean peasant life yet made or available. One can think of a number of topics not overtly dealt with but the knowledgeable observer can quickly find other themes interwoven with the main topic. Each film follows the lives of the peasants of the highland communities of Ayata and Virochocha, Bolivia, in a direct, cinema verité fashion. The AUFS team has achieved a degree of sophistication with the technique that invariably draws the student ever deeper into the culture.

The sound picks up the Aymara dialogue effectively and the English subtitles are very well done, providing a direct and forceful translation which is easily followed. Through the camera eye the viewer can become the ethnographer or indeed, with the sound, the linguist as well. Students can use the films as field study documents and take notes from them as observers."
— Paul Doughty, University of Florida, American Anthropologist, 1977

Films in the Bolivia series

Andean Women
The Children Know
Magic and Catholicism
Potato Planters
The Spirit Possession of AlejandroMamani
Viracocha

About the Faces of Change Collection

This innovative collection of 16mm films and videos was funded by the National Science Foundation, produced by Norman Miller and directed by some of the finest ethnographic filmmakers of its time.

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!Kung Short Films

Wed, 5 Sep 2018 11:07:00 GMT

!Kung Short Films
Buy Now: $545.00

Between 1950 and 1958, John Marshall made four expeditions to film the Ju/'hoansi (a group of !Kung Bushmen) of the Nyae Nyae region of Namibia (then South West Africa). Marshall and his family, who together undertook an extensive multi-disciplinary study of Ju/'hoansi, spent the greatest amount of time with the people of /Gautcha, including ≠Oma, !U, Tsamko, N!ai, and /Gunda. During this time, Marshall shot over 300,000 feet of 16mm film (157 hours). He later produced a total of 23 films exclusively from this footage. 15 of those are short films that Marshall referred to as "sequence films." Each focuses on a single event, providing the viewer a brief introduction followed by an uninterrupted sequence.

Although Marshall recorded some sync sound between 1955 and 1958, sync recording in the field was difficult and cumbersome. As a compromise, Marshall made non-sync recordings at the time of filming and later joined this audio to the edited films. Soundtracks were sometimes enhanced with additional ambient sound or sound effects recorded after the fact. This method allowed Marshall a major innovation in ethnographic and documentary film - his subjects could speak for themselves, often accompanied by subtitles.

These shorts were intended as educational films, to be viewed multiple times and with the aid of a study guide. The introduction to each film might identify major characters, outline the basic plot, or offer background information about the event to follow, but then viewers are left to experience the film for themselves, to form their own impressions of what is happening and why. Of course, the films have proven to have a life well beyond the classroom. They are intimate portraits of the daily life and ritual life of ≠Oma and his band during the 1950's. Rich in ethnographic detail, the films' beauty and high emotional content are indicative of the close bond that Marshall had formed with his subjects - a bond that would last all his life.

This collection combines fourteen of Marshall's short !Kung films onto two remastered/re-authored DVDs, complete with a full-color booklet containing photos, writings, and additional information about the series.

Disc One:
A Curing Ceremony (bw) (9:00)
Group of Women (6:00)
A Joking Relationship (13:00)
N/um Tchai: The Ceremonial Dance of the !Kung Bushmen (bw) (20:00)
N!owa T'ama: The Melon Tossing Game (15:00)
The Lion Game (5:00)
An Argument About a Marriage (18:00)
Men Bathing (14:00)

Disc Two:
Playing with Scorpions (5:00)
A Rite of Passage (15:00)
Debe's Tantrum (9:00)
The Wasp Nest (13:00)
The Meat Fight (14:00)
Baobab Play (8:00)

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

Wed, 5 Sep 2018 11:07:00 GMT

A Kalahari Family
Buy Now: $1,200.00

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."

"There are two kinds of films. Films that show us in skins are lies. Films that show the truth show us with cattle, with farms, with our own water, making our own plans." —Oma Tsamkxao

"The old life was too thin. We wanted foods that made us strong. We wanted clothes like other people... A new life called us to Tjum!kui." —Oma Tsamkxao

"We heard stories about whites killing Ju/'hoansi. We were traveling to find bush foods when /Ui Legs told us white people had come. He said you would return to look for us and stay a long time. We were afraid you would capture or kill us. I'm glad you whites were different." —Oma Tsamkxao

John Marshall's documentary shows the objective story of one Namibian family and testifies to the challenges and the effects of changing times on the entire nation. This not only supports the constructive political revelations preached by our first president but is a touching testimony seen from within and without our society how it changes without reflection to its past history sacrificing part of its capacity to the demands put to them by the fast changing environment making it impossible to keep up and adjust. There is no progress possible if any help from the outside does not generate capacity building from within. This documentary shows that listening to the local voices and capacity building is the only answer to sustainable development. Such help is this documentary, so that each Namibian irrespective of any rank should be obliged to see it several times and keep it for generations to come. This is part of our invisible history innocently captured to testify in vision what has so far been invisible to the naked eye.

We owe enormous gratitude to the Marshall family for this valuable contribution to the History and welfare of our nation.
— Levi Namaseb, Namibian Visiting Scholar, University of Toronto

Films in the A Kalahari Family series:

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 Ethnographic Film Festival, England, 2003

Beeld Voor Beeld, Ethnographic Film Festival, Amsterdam, 2003

Jury Award, Athens Film Festival, 2003

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

Planet In Focus Film Festival, Toronto, 2003

Margaret Mead International Film Festival, NYC, 2002

Sithengi International Film Festival, Capetown, 2002

African Film Festival, Seattle, 2003

Boston Premiere, Museum of Fine Arts, 2003

Archaeology Channel Film Festival, Oregon, 2003

Beeld Voor Beeld, Ethnographic Film Festival, Amsterdam, 2003

Harvard Film Archive, Cambridge, MA, 2004

Göttingen International Film Festival, Germany, 2004

Thessaloniki Documentary Film Festival, Greece, 2005

Ecocinema Festival, Athens, Greece, 2005

This film is part of the !Kung Series.

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Diary of a Maasai Village series

Wed, 5 Sep 2018 11:07:00 GMT

Diary of a Maasai Village series
Buy Now: $1,360.00

"A rich man in Maasai has children and cows.... and he has wives - many wives."

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 senior man in the village is the most important Maasai prophet and magician who is known as the Laibon. He is regarded as a wealthy man because he has so many wives and children. He has 13 wives living in the village as well as a large number of children, about 20 daughters-in-law, and 30 grandchildren. All the main characters in the films are somehow related to the Laibon, who was nearly 80 years old when the films were made.

A common thread to the events of all five films is the ever-present anxiety about the state of the herds. These appear to be slowly depleting due to drought, disease and an increasing need to sell livestock for cash. Cash and/or livestock are needed by the Laibon and his kin to trade for wives, to pay off debts and to compensate for previous thefts.

Films in the Diary of a Maasai Village Series

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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A Country Auction

Thu, 30 Aug 2018 08:16:00 GMT

A Country Auction
Buy Now: $320.00

A Country Auction Film Project, based on the ethnographic research of Robert Aibel, Chris Musello and Jay Ruby, consists of a trio of films covering a period of almost 30 years.

In 1983 three ethnographers and a documentary filmmaker collaboratively produced two films – A Country Auction and Can I Get A Quarter? – that documented ethnographic research conducted on estate sales held in a rural Central Pennsylvania community. Over the next 25 years, these films were screened in numerous film festivals, broadcast on public television, and reviewed in academic journals.

The consensus among the filmmakers was that few people appeared to comprehend their intentions in producing the films. In 2008 they decided to return to the community where A Country Auction was filmed and hold an anniversary screening. In addition, the four filmmakers came together for a critical discussion about the successes and failures of the original Auction film. This discussion became the basis of a third film, Reflexive Musings: A Country Auction Study Film.

Films on this DVD

A Country Auction: The Paul V. Leitzel Estate Sale (58 min, 1983)

Produced and Directed by Bob Aibel, Ben Levin, Chris Musello and Jay Ruby An ethnographic film about an estate auction in a rural community in Pennsylvania. It examines the personal, social and economic processes involved when a family dissolves their homestead. The film portrays the auction process as integral to the social life of the community and as a method for a family and community to deal with the death of one of their members.

Can I Get a Quarter? (6 min, 1983)

Produced and Directed by Bob Aibel, Ben Levin, Chris Musello and Jay Ruby A short observation of the auction of objects that remained unsold after the all day sale of the real estate and possessions of Paul Leitzel as shown in the film, A Country Auction.

Reflexive Musings: A Country Auction Study Film (47 min, 2012)

Produced and Directed by Milton Machuca and Jay Ruby A uniquely reflexive examination of the successes and failures of A Country Auction as an anthropological film. The four producers take part in a prolonged critical discussion of the original film.

Film Festivals

Gottingen International Ethnographic Film Festival, Germany, 2014

EASA Biennial Conference, Estonian Institute of Humanities, Tallinn University, 2014
Viscult, Joensuu, Finland, 2010

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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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