accountability, 138, 147,
167
Adair, John, 5-6, 21,
22, 52, 64, 72, 93,
101, 122, 125, 126, 159, 183, 196,
198-99. See also Navajo Filmmakers
Project
ambiguous meaning situation, 26-27,
135
Amelio, Ralph J., 112, 117-8,
121-22
"American Family, The," 197-98
American Film Institute, 112
American Indians, 152. See also
Navajo Filmmakers Project
American Sign Language, 191
anthropology, 78, 92,
197; ethical problems in, 4-7,
17-19, 94-95,
97-106; use of film in, 4-7,
16, 18, 29, 75, 78,
83, 84, 92,
94, 95, 96, 97, 101,
102, 104-5,
120, 189-90,
191 (See also anthropology of visual
communication; ethnographic film; visual anthropology); use of photographs
in, 16, 34, 194, 196; use of
television in, 102; and visual images, 180
anthropology of visual communication, 6,
34, 185, 195, 197, 198, 199. See also
ethnography of film/visual communication; visual anthropology
Antonioni, Michelangelo, 10, 46, 48
archaeology, use of camera by, 189
Arnheim, Rudolph, 19-20, 23,
29, 51, 52, 111, 112-14,
116, 118, 120, 129, 149, 160, 171
art, 27, 29;
as communication, 32; non-representational,
173, 174, 175, 181, 193;
representational, 170. See also conventions,
pictorial; film, as art; pictures
articulation, 137, 138,
139, 141, 146, 147, 165, 166, 167,
183
assumption of existence, 145, 163
assumption of intention, 30, 32, 145, 146-47,
163, 165, 167-68, 172-73, 176
attribution, 26, 28,
29, 32, 124, 128, 135,
137,139,141, 142, 144,
145, 146, 153, 164, 165, 166, 167,
168, 171, 172, 179, 181,
183
attributional meaning, 165, 166, 171, 172,
179, 181. See
also attribution
Barthes, Roland, 69
Bateson, Gregory, 16, 34,
187, 189-90
Bazin, Andre, 15, 37,
55, 56, 70
Beardsley, Monroe, 159
Becker, Howard, 196
belief-disbelief system, 41-42, 50
Bell Telephone Company, 91
Benedict, Ruth, 190
Bergmann, Gustave, 164
Berlyne, Daniel, 23, 51
Bernstein, Basil, 72
Bettetini, Gianfranco, 111
biodocumentary, 3-7, 18,
21, 22; contrasted
with documentary films, 5; defined, 3; as research tool, 4-6;
viewers' reaction to, 2-4, 21,
22
Birdwhistell, Ray, 79, 88,
190, 195
Birth of a Nation, 120n
Bloomfield, Leonard, 82, 170
Boas, Franz, 113, 166
Bouman, Jan C., 39
Braque, Georges, 174
British Film Institute Seminar, 56
Bundy, McGeorge, 91
cable television, 91-92, 99,
130, 131; and
Mt. Sinai project, 93. See also television
cademe, 13, 52-53,
54, 57, 58,
62, 63, 64,
66, 70, 73;
defined, 13, 52-53;
in Navajo films, 64, 65
camera, motion picture, invention of, 86,
88
camera shot. See cademe
caricature, 30, 31,
155, 156-57, 161, 174
Carnap, Rudolf, 169
Carpenter, Edmund, 98
Casey, Edward S., 179, 180n
Cassirer, Ernst, 192, 194
censorship, 19, 103,
104
Chalfen, Richard, 5, 22,
80, 125, 176, 190, 196
Chomsky, Noam, 14, 15,
56-57, 60n, 66, 67, 71,
89, 113, 158, 159, 160
Chronicle of a Summer, 89
Chukovsky, Kornei, 178n
"collision of ideas," 51, 68, 159-60, 161
Columbia Broadcasting System (CBS), 105
communication, 165, 166;
as social process, 26, 119,
137, 165; as symbolic
behavior, 4. See also film, as communication
communicational inference. See inference
communicational meaning, 162-66, 171, 172, 181, 184; defined, 165
communicational meaning situation, 136
communication of competence, 33, 181
communications theory model of film communication, 7,
8, 29, 119
competence in symbolic modes, acquisition of. See development
of communicative and interpretive competence
com-sign, 42
contiguity, 14n, 28,
31, 140, 141, 143; defined, 140
control of information and symbolic forms, 19,
90-92, 99, 103-4, 106, 132
conventions, 20, 21,
26, 135, 138, 147, 160,
161, 165, 166-67, 171; film, 3-4, 20, 21,
28, 29, 30, 116-17, 119,
120n, 157, 165, 171, 183;
language, 168, 179;
pictorial, 32, 33,
171, 174, 175, 179, 181-82,
193
Cultural Indicators program, 191
culture: diversity of, 105, 106; influence of, on filmmaking, 13,
14-15, 72, 79, 82, 93,
100, 101, 120, 125, 128, (see also Navajo Filmmakers Project)
Derrida, Jacques, 149
development of communicative and interpretive competence, 27-29, 123, 124,
128-29, 138-46
documentary films. See biodocumentary; ethnographic film
Documentary Film Workshop, 2, 10
documentary movement, 89
Donaldson, Margaret, 144, 145
Dovzhenko, Alexander, 193
dramatic scene as basic film unit, 12,
50
early films, 62, 87-88,
187-88
edeme, 13, 15,
52-53, 54, 58, 59, 60,
63, 64, 66,
68, 69, 70,
72, 73; defined, 13, 52-53; in Navajo
films, 64
Edge, David, 151
Edison, Thomas, 86, 88,
188
editing, 6, 7,
12, 13, 29, 50-51, 58-59,
63, 66, 78,
100, 119, 121, 122, 126-28, 142, 160, 183, 186,
195, 198. See
also edeme
editing shot. See edeme
education: ethical issues in, 19, 97, 131-132; as form
of acculturation, 118-19;
as process of communication, 122. See
also teaching
educational television, 104. See
also "Sesame Street"; television
Eisenstein, Sergei, 12, 15,
30, 37, 51, 52, 55,
68, 70, 111,
151, 152, 159-60, 193
Ekman, Paul, 79
Escher, M. C., 156, 178
ethical issues: and anthropology, 7,
17-19, 94-95,
97-106; and communication technology, 18; and education, 19,
97, 131-32
ethnographic film, 17, 74-84,
88, 89, 95, 100, 102,
104, 188-89,
193, 195; defined,
74-75, 77
ethnographic semiotics, 34-35, 202
ethnography, 5, 34-35,
94, 196, 197. See also ethnographic film
ethnography of communication, 16, 22, 77, 96,
106
ethnography of film/visual communication, 22n,
104, 192, 200-203. See also anthropology of visual
communication; vidistics
existential meaning situations, 135,
137
feeling-concern, 8, 9,
10, 11, 20, 21, 42,
43, 44, 46,
49, 50, 59,
62; defined, 40-41
Feldman, Shel, 14
film: as art,11, 37,
38, 39, 51,
52, 81, 89,
109, 110, 112-14, 116, 123; as communication, 4,
7-9, 11-14, 20, 37, 38,
40-41, 43, 44, 45, 47,
109, 118-20, 123-24, 132, 197; in education, 19-20,
108-33 (see also teaching); ethnographic
(see ethnographic film); as language, 7,
11-14, 15, 37, 38, 39,
40, 53, 55-73,
81, 83, 109,
126, 129, 152, 153, 162, 182, 183,
193 (see also language, and film);
objectivity of, 7, 16,
29, 77-78, 87, 88, 89,
104, 115, 116, 175, 186, 188-90, 193-95; as phenomenon of culture, 6,
16, 34, 77, 79-80, 81,
82, 84, 104-5,
191-92, 195,
197; as record of culture, 6,
16, 77-78, 79, 81, 82,
84, 89, 104-5, 120, 192, 193, 195-96,
197; as research tool, 4-6,
16, 18, 34; technology of, 16,
50, 53, 63,
68, 83, 86-88,
89, 90, 93, 98, 126;
truth/falsehood of, 162, 176-78,
186, 194-95,
196, 197, 199. See also anthropology,use of film
in; biodocumentary; communications theory model; conventions, film; culture,
influence of, on filmmaking; early films; ethnographic film; filmmaker;
films; home movies; mirror-image model; Navajo Filmmakers Project; psychological
model; teaching
"film literacy," 112, 121-22, 123, 130
filmmaker: cultural bias of, 7; role
of, in communication process, 8-10, 11, 12, 13,
16, 20, 21-22, 29, 38,
39, 40, 42,
43, 44, 46,
49, 53, 54,
57, 59, 62-64,
70, 72, 73,
81, 119, 120, 124, 126.
See also films; Navajo Filmmakers Project
film montage, 157, 160
films: by adolescents, 80-81, 82, 92-93, 100,
125, 128, 132; by anthropologists (see anthropology,
use of film in); by blacks, 81, 82,
93, 100, 125, 128, 132; by Chicanos, 81; by
children, 125; by Navajos (see Navajo
Filmmakers Project); by students, 1-3, 7, 21, 80-81,
93, 125, 191, 192; by whites,
100, 125, 132
"film teachers," 111-12, 117-18
film theorists, 111, 114-17
Ford Foundation, 91
Freud, Sigmund, 86, 158-59,
160
Friendly, Fred, 91
Friesen, Wallace, 79
Fuller, Buckminster, 111, 114-15,
117, 133, 149
Gerbner, George, 80, 191
Gericault, Jean, 174
Gessner, Robert, 39
Gestalt psychology, 20, 51
Gilbert, Craig, 197-98
Godard, Jean-Luc, 68, 69,
89, 111
Goffman, Erving, 160, 191n,
196, 197n
Gombrich, Ernst, 57, 113,
114, 120, 122, 150, 155, 170, 173
Goodman, Nelson, 113, 114,
158, 192, 194
grammar, 56-57, 60,
61-62, 66-67, 68, 71, 150,
162, 168; of film,
7, 13-14, 15, 58-59, 60-61,
67, 68, 69,
71, 81, 83,
162, 182; of pictures,
61, 162, 179,
181, 182; of
symbolic behavior, 123, 160,
161
grammaticality. See grammar
Greenberg, Bradley S., 39
Gregory, R. L., 177
Grice, H. P., 32, 146,
168, 169, 176
Grifffith, D. W., 120n
Gross, Larry, 23-24, 33,
120n, 121, 122, 123, 128, 138, 143,
163n, 181, 191
Guback, Thomas, 80
Guston, Phillip, 175
Hall, Edward, 79
Harlan, Thomas, 142
Harris, Zellig, 56, 170
Heider, Fritz, 26
Heider, Karl, 17
Higgins, Earl, 191
Hoban, Charles, 108, 110
Hochberg, Julian E., 70
Hockett, C., 56
Hodgkinson, A. W., 121
holophrastic: film, 62; utterance, 61-62
home movies, 34, 80,
90, 92, 176, 190, 192,
196
Hughes, Howard, 91, 105
Hymes, Debora Worth, 154n
Hymes, Dell, 15n, 16,
18, 22, 76, 82, 113,
160
image-events, 8, 9,
10, 11, 12, 13, 20,
22, 41, 42, 43, 44,
45, 49, 50,
51, 53, 54,
59, 62, 75,
123, 126; in Navajo
films, 126. See also videme
imagemaker, role of, in communication process, 16,
21, 22, 23. See also filmmaker
implication, 7, 21,
26, 28, 29, 30, 31,
33, 82, 119, 120, 124,
126, 129, 137, 138, 141, 144-45, 146, 153, 164-65,
166, 167, 168, 172-73, 179,
181, 183, 184; defined, 120n; in ethnographic
film, 81-82
"impossible figures," 177,
182
inference, 7, 21,
26, 28, 29, 30, 31,
32, 33, 82, 119, 120,
124, 126, 128-29, 135, 137, 138, 141, 144-45, 146, 147, 153,
164-65, 166, 167, 168, 173, 179, 181,
183, 184; and cultural
difference, 129; defined, 120n;
in ethnographic film, 81-82
intention. See assumption of intention
interactional meaning, 162, 166, 184
interpreter, role of, in communication process, 23.
See also viewer
interpretive strategy, 24-27, 30, 137, 141-42,
152, 153, 162-63, 164-65, 166, 172, 179,
181, 183, 184; development of, in children, 142-45.
See also attribution; attributional meaning; interactional meaning
Jakobson, Roman, 192-93
Jarvie, lan C., 159
Jonas, Hans, 114
Kael, Pauline, 37
Kelley, Harold, 26
kinesics, 88
Kloos, W. E., 103n
Kluckhohn, Clyde, 107
Kracauer, Siegfried, 52
Kris, Ernst, 9, 44,
113, 122, 166
Kuhn, Thomas, 113, 151
Labov, William, 113
language, 18, 60,
72-73, 81, 95, 96, 105,
122, 123, 125, 152, 158, 168; definitions of,
56-57; and film, compared, 7,
13, 60, 96, 112-14, 122,
114, 126, 129, 151; and film,
contrasted, 1, 31-33,
57-59, 60-61, 66-68, 75, 93,
112-14, 115, 118, 129, 182; influence of, on film, 6,
22, 82, 83, 93, 113-14,
120, 125, 126, 127, 183, 191; Navajo, 6, 22, 125,
127, 183, 191; and negation, 173;
pictorial, 173; and pictures, 1,
31-33, 156, 158, 162-63, 170-72, 173-74, 178-84; and truth/falsehood, 156,
169-70, 174, 175, 176-77. See
also film,as language; "film literacy"
language community, 56, 72,
73; of film, 72, 73, 81. See also
native speaker
"language of film." See film, as language
Levine, David, 157
Levi-Strauss, Claude, 56, 89,
113, 149, 157
lexicon, 53, 57,
58, 61-62, 69, 71, 75,
151, 171, 180; of film, 15, 57, 58, 63,
68, 71, 75;
of pictures, 180; of symbolic modes, 123
linguistics, 11, 12,
14-15, 37, 89, 96, 169,
170, 180. See
also film, as language
Lomax, Alan, 79
Loud family. See "American Family, The"
Loud, Patricia, 186, 197-98
Lovell, Terry, 56
Lumière, Louis Jean and Auguste, 88,
188
MacGregor, Frances C., 189-90
McLuhan, Marshall, 96-97, 111,
117, 149
McNeil, David, 61, 62
Makavejev, Dusan, 151, 152,
177-78
Malinowski, Bronislaw, 5, 94
Malraux, Andre, 182
Mead, George Herbert, 160
Mead, Margaret, 6, 16,
17, 34, 35, 40, 78,
80, 89, 185-99
Medium Cool, 178
Méliès, Georges, 89
Menomini, 82
Messaris, S. Paul, 142, 143
metaphor: as caricature, 155-61; in film,
30-31, 151-52,
157, 160; portrait
as, 154-55; verbal, 30-31,
129, 148-61; visual,
150, 151, 152, 155
Metraux, Rhoda, 80, 191
Metz, Christian, 37, 55-56,
111, 183
Miller, G. A., 53, 61
mirror-image model of film communication process, 9-11,
20-21, 42, 43-44
models of film communication process. See communications theory
model; mirror-image model; psychological model
modifier-object relationship, 65-66
Morin, Edgar, 89
Morris, Charles, 14, 38,
39, 42, 58,
61, 164
Morse code, 180
Mt. Sinai Hospital cable television project, 93
Murphy, James P., 143
Muybridge, Eadweard, 88, 187
National Association of Media Educatiors, 112n
native speaker, 56, 57,
66-67, 153-4, 182; of pictures, 31,
153-54, 182. See
also language community.
natural events, 25-27, 29,
32, 141, 144,
137
Navajo Filmmakers Project, 4-6, 12, 14, 16,
18-19, 21, 22, 52, 64,
65, 66, 72,
78, 81, 82,
93, 100, 101, 125, 126-28, 113, 183, 191, 196,
198-99
negation and pictures, 32-33, 156, 168, 173-74,
178-79, 184
nonsign-events, 24, 25,
136
objectivity. See film, objectivity of; photographs, objectivity
of; television, objectivity of
Olson, David R., 122
order, 14n, 140
Osgood, Charles, 14
Pallenik, Michael J., Pasolini, Pier
P., pattern, 140-41
Pavlov, Ivan P., 51, 70,
164
Peirce, C. S., 14, 87,
154
Perkins, David, 157
Peters, J. M., 121
photographs: objectivity of, 16, 33, 175, 186; as phenomena of culture, 34,
190, 191-92,
197; as records of culture, 16,
34, 190, 191-92, 197; truth/falsehood
of, 175-76, 186.
See also anthropology, use of photographs in; snapshots
Piaget, Jean, 108-9, 121,
126, 133
Picasso, Pablo, 172, 174,
175, 182, 192
pictures, 31-33, 162-84;
as communication acts, 197; and language,
31-33, 170-72,
173, 178, 179, 180-81, 183-84;
and negation, 32-33, 156,
168, 173-74, 178-79, 184; as symbolic
events, 32; truth/falsehood of, 33,
163, 170, 174-75, 177, 178-80,
181-82, 184, 197. See also art; caricature; photographs
Pollock, Jackson, 175
Porter, Edwin S., 12, 50,
63, 112n
portrait as metaphor, 154-55. See
also pictures
pragmatics, 58
Price, Kingsley B., 179
psychological model of film communication process, 4,
8, 9, 10,
14, 15, 37, 40, 44,
111
Pudovkin, V.I., 37, 51,
52, 111, 193
radio, 86, 89,
90; technological limitations of, 92
Red Desert, 10, 46,
48
reflexivity, 5
Reich, Wilhelm, 151
Reid, Louis A., 179
Ricoeur, Paul, 149, 151,
151, 156, 157, 159
Riley Brothers, 188
Rockwell, Norman, 192
Rokeach, Milton, 41, 42,
50
Rouch, Jean, 89
Ruby, Jay, 17, 35,
190, 196
Salomon, Gavriel, 133
Sapir, Edward, 56, 76,
113, 160, 173
Saussure, F. de, 14, 39,
56, 67, 89
Schensul, Stephen L., 98n
Schlauch, Margaret, 105
Sebeok, Thomas A., 39
semantics, 58; of film, 13,
58, 65, 81
semiotics, 14-15, 38,
56, 58, 74,
152-53, 168, 180; of ethnographic film, 34-35,
74-84, 202; of
film, 36-73, 151;
of metaphor, 152, 160;
of pictures, 163, 184
sender-receiver isomorphism. See mirror-image model
sequence, 13-14, 28,
30-31, 60, 64, 66, 68,
70, 73, 125,
141; in Navajo films,
65
"Sesame Street," 99, 117, 121, 132,
133
"shot" as basic film unit, 12,
51, 159. See also
videme
sign. See image-event; semiotics
sign-event, 25, 27,
28, 33, 137, 140, 139
"Six Families," 187
Smith, F., 53, 61
snapshots, 34, 190,
196. See also photographs
sociolinguistics, 15, 96.
See also linguistics
sociovidistics, 22
Sofue, Takao, 103n
Sorenson, E. Richard, 196
Sparshott, Francis E., 31, 148n, 149, 151,
154, 155
speech. See language
Spottiswoode, Raymond, 13
Stalin, Joseph, 105
Stanford, Leland, 88, 187
Stankiewicz, Edward, 55
stimulus-response theory of meaning, 164,
168
story-organism, 8, 9,
10, 11, 20, 43, 44,
46, 49, 59;
defined, 41-42
Strike, 30, 151
structuralism, 12, 56
student films. See films, by students
Sturtevant, E. H., 56
style, 39, 40,
68, 69, 70,
symbolic events, 134-36,
142, 216">142
Williams, Carroll, 17
Wittgenstein, Ludwig, 56
Wolfenstein, Martha, 79-80
Wolfflin, Heinrich, 113
Wollen, Peter, 56
W.R.: Mysteries of the Organism, 151-52,
177-78
Youngblood, Gene, 20, 29,
111, 114-17, 118, 133
©1996 Tobia Worth . All Rights Reserved.