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FIVE COORDINATES OF VUSUAL ANTHROPOLOGY // ΠΡΑΞΗMΑ. Journal of Visual Semiotics. 2014. Issue 2 (2). P. 55-64

Dwelling upon a notion of the “dialogue of cultures” as the defining aim of Visual Anthropology, the author thinks that one of the most important tasks of films that follow this aim is providing authentic information. In the beginning of the article I treat the characteristics of the documentary filmmaking which were in focus of attention during the early stages of the cinema development before it shifted largely to feature films. The Soviet filmmaker Dziga Vertov laid the ground for the theory of cinema language understood as the language of documentary cinema. He declared and experimentally illustrated the main spatial and temporary coordinates of the cinema language. But his ideological attempt to “build a new man” did not allow to use his formal discoveries to transform the documentary filmmaking in the means of the dialogue with peoples on screen. A filmmaker from another continent, Robert Flaherty, made this step approximately at the same time. Not pretending to be a theoretician of cinema, Flaherty made a practical discovery which showed that documentary filmmaking may not only make artistic breakthroughs but also serve a means of communication allowing representatives of remote cultures remain on screen not as exotic aliens but conduct equal dialogue with viewers. The main task of the article was to show that formal categories of the film structure (spatial and temporal) may naturally be combined with such an irrational category as the ethical responsibility of the film author before the reality.

Keywords: visual anthropology, languages of cinema, dialogue of cultures

TRANSITING FROM PERCEPTION TO DOCUMENT (FUNCTIONAL AND GENETIC STRUCTURE OF VISUAL ANTHROPOLOGY MEDIUM) // ΠΡΑΞΗMΑ. Journal of Visual Semiotics. 2015. Issue 2 (4). P. 55-68

The article consists of three interrelated parts. The first one establishes promising visual anthropology’s future in light of expanding anthropological theory. The second part defines the functioning of visual anthropology and emphasizes the creation of pointed specific screen materials – a medium between specified culture and viewing public. Moral responsibility seems the important attribute that determines a very visual-anthropology function during all stages. The third part attempts to reveal connections between the structure of visual messages regarding anthropology substance and general modern worldview.

Keywords: Visual Anthropology, documentary film, moral responsibility of anthropologist, cultures’ dialog