Modes of Griot Inscription in African Cinema

A recurring idea in criticism of African cinema has been that the films frequently deploy the narrative techniques of ‘the griot’, the storyteller of African tradition. In particular, Manthia Diawara (1989) has alerted us to the inscription of the oral narrator within the visual discourse of particular African films, while other critics have considered how the films recall the narrative forms of traditional oral tales. However, these critics’ exclusive attention to the visual track and/or narrative form overlooks another inscription of the griot - an inscription that exists at the level of music. Examining music and image relationships in an aesthetically diverse set of African films, this paper demonstrates how griot inscription emerges as a major variable, modulating between music and image within and between texts. This propels music, and the griot, to a status of primary importance in terms of understanding the ways in which the films engage with, and re-appropriate, notions of ‘African-ness’, while negotiating the tensions of address generated when oral forms of narrative meet the literate, industrial form of cinema.

Framed Memories of Berlin:Film, Remembrance and Architecture

In The City of Collective Memory, urban historian Christina Boyer (1994) defines the image of a city as an abstracted concept, an imaginary (re)constructed form. This urban image is created from many aspects, one of which is the framed and edited views and experiences found in films situated in or about a particular city. In this study, to explore the collective memory of the city of Berlin from an architectural point of view, one film from each of the major historical periods of Berlin since the invention of cinema is examined: pre-WWI, interwar period, the Nazi period, post-WWII, Berlin Wall/Cold War, and the reunification period. Memory-making in the city is studied following the footsteps of the protagonists in the films, concluding that film-making and memory-making make use of similar processes, the editing of fragmented pieces of so-called reality, to create its own reality.

Voyage(s) to Sarajevo: Jean-Luc Godard and the Image of War

This essay discusses Jean-Luc Godard’s artistic response to the Bosnian War (1992-95), and its representations in the Western mass media. For Godard, the reluctance of Europe’s advanced liberal democracies to intervene meaningfully in Bosnia – their insistence that 'humanitarianism' rather than protective intervention was the order of the day – was tantamount to supporting Serbian fascism, and – a fortiori – regressing to a policy of appeasement reminiscent of the days of the Munich Agreement. Although Godard's stance set him against some of his former compatriots on the left, speculating on his ideological motivations is beside the point. Rather, it is is in his filmmaking, in his vision of cinema, and how it relates to other histories of the image, that Godard’s sensibility can be most keenly felt and understood. As the essay points out, even his recent contribution to Jean-Michel Frodon's compilation film, Bridges of Sarajevo/Les ponts de Sarajevo (2014, 114 mn.), persists in posing questions about how the past continues to shape the present, and how Sarajevo and its contemporary history still delineates the identity of Europe. 

Praying for Salvation: A Map of Relatedness

This article attempts to push Mauss’ work on the sociality of prayer (1909) to its fullest conclusion by arguing that prayer can be viewed anthropologically as providing a map for social and emotional relatedness. Based on fieldwork among deep-sea fisher families living in Gamrie, North-East Scotland (home to 700 people and six Protestant churches), the author takes as his primary ethnographic departure the ritual of the ‘mid-week prayer meeting’. Among the self-proclaimed ‘fundamentalists’ of Gamrie’s Brethren and Presbyterian churches, attending the prayer meeting means praying for salvation. Yet, contrary to the stereotype of Protestant soteriology as highly individualist, in the context of Gamrie, salvation is not principally focused upon the self, but is instead sought on behalf of the ‘unconverted’ other. Locally, this ‘other’ is made sense of with reference to three different categories of relatedness: the family, the village and the nation. The author’s argument is that each category of relatedness carries with it a different affective quality: anguish for one’s family, resentment toward one’s village, and resignation towards one’s nation. As such, prayers for salvation establish and maintain not only vertical – human-divine – relatedness, but also horizontal relatedness between persons, while also giving them their emotional tenor. In ‘fundamentalist’ Gamrie, these human relationships, and crucially their affective asymmetries, may be mapped, therefore, by treating prayers as social phenomena that seek to engage with a world dichotomised into vice and virtue, rebellion and submission, and, ultimately, damnation and salvation.

Eclectic Dialectics: William Klein's Documentary Method

This article examines the relations between documentary aesthetics and the political sensibility of William Klein. Structured around the cultural phenomena that have remained integral to his career as a photographer and filmmaker - fashion, sport, and music - it discusses his enduring attachment to notions of freedom and creativity still associated with 1960s counter-culture, and the Vietnam War. In particular, it examines how how his films disrupt conventional categories, and subvert the familiar rhetoric of mainstream documentary film, especially that associated with cinéma vérité. A erstwhile protege of Dada, Klein has always valued the expressive potential of improbable juxtapositions, of intercutting between times and places, and subverting mainstream journalistic modes and intentions. The article argues that this attitude is increasingly rare among contemporary documentary filmmakers, and yet it is the very thing that gives his work a distinctive aesthetic texture, and relevance to any history of cinema.

Animal foraging from an individual perspective: an object orientated model

A model system, HOOFS (Hierarchical Object Orientated Foraging Simulator), has been developed to study foraging by animals in a complex environment. The model is implemented using an individual-based object-orientated structure. Different species of animals inherit their general properties from a generic animal object which inherits from the basic dynamic object class. Each dynamic object is a separate program thread under the control of a central scheduler. The environment is described as a map of small hexagonal patches, each with their own level of resources and a patch-specific rate of resource replenishment. Each group of seven patches (0th order) is grouped into a Ist order super-patch with seven nth order super-patches making up a n + 1th order super-patch for n up to a specified value. At any time each animal is associated with a single patch. Patch choice is made by combining the information on the resources available within different order patches and super-patches along with information on the spatial location of other animals. The degree of sociality of an animal is defined in terms of optimal spacing from other animals and by the weighting of patch choice based on social factors relative to that based on food availability. Information, available to each animal, about patch resources diminishes with distance from that patch. The model has been used to demonstrate that social interactions can constrain patch choice and result in a short-term reduction of intake and a greater degree of variability in the level of resources in patches. We used the model to show that the effect of this variability on the animal's intake depends on the pattern of patch replenishment. (C) 1998 Elsevier Science B.V. All rights reserved.</p>

Inside the tent: Community and government in refugee camps

Refugee camps are increasingly managed through a liberal rationality of government similar to that of many industrialized societies, with security mechanisms being used to optimize the life of particular refugee populations. This governmentality has encompassed programmes introduced by the United Nations High Commissioner for Refugees (UNHCR) and various non-governmental organizations (NGOs) to build and empower communities through the spatial technology of the camp. The present article argues that such attempts to ‘govern through community’ have been too easily dismissed or ignored. It therefore examines how such programmes work to produce, manage and conduct refugees through the use of a highly instrumentalized understanding of community in the spatial and statistical management of displaced people in camps. However, community is always both more and less than what is claimed of it, and therefore undermines attempts to use it as a governing tactic. By shifting to a more ontological understanding of community as unavoidable coexistence, inspired by Jean-Luc Nancy, we can see how the scripting of and government through community in camps is continually exceeded, redirected and resisted. Ethnographies of specific camps in Africa and the Middle East enable us both to see how the necessary sociality of being resists its own instrumentalization and to view the camp as a spatial security technology. Such resistance does not necessarily lead to greater security, but it redirects our attention to how community is used to conduct the behaviour of refugees, while also producing counter-conducts that offer greater agency, meaning and mobility to those displaced in camps.

Cinema Lucida: Johan van der Keuken and the Meaning of Loss

Ever sceptical about the positivistic claims of ethnographic and so-called realist documentary, Johan van der Keuken’s film-making is the work of a curious, spontaneous and disorientated observer of the essential strangeness of both the foreign and the familiar, new landscapes and cities, experiences, and people. While there are various explicitly political and socially orientated films and themes across his work, it is those films and moments when what is being conveyed is a sense of him being somewhere liminal, being ‘in-between’ situations, cultures, styles and interpretations, reticent, uncertain but incorrigibly curious that constitute his most valuable contribution to documentary film aesthetics. Not surprisingly, such characteristics often come to the fore in those films where he tries to make sense of loss, the passing of lives and the legacies left behind. This article discusses questions of history and personal loss in a number of his films.