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Workshop 2 – 2024

Crafting the Moving Image: Documentary, Anthropological, and Ethnographic Perspectives in Pakistan.

 

Invited tutors

  • Dr Michel Tabet, anthropologist, LAS, Collège de France-CNRS-EHESS, Paris
  • Haya Fatima Iqbal, Assistant Professor at Habib University, Karachi
  • Eléonore Boissinot, producer and filmmaker, Dryades Films, Paris
  • Mariam Aziz, Assistant Professor, Film production, IBA, Karachi

Abstract

The objective of this workshop is to support students in developing documentary film projects at every stage of the creative process and provide them with a space for exchange and reflection. The workshop takes a blended, two-part approach. First, it approaches the arts of the moving image (primarily film and video, but also including multimodal essays, artists’ moving image works, and installation-based media) through the field of visual anthropology. Visual anthropology combines the study of visual representations with empirical methods born of creative visual practices. In its second approach, the workshop seeks to understand the moving image as an object of social practice. It does this by engaging the anthropology of film and looking to the infrastructures, archives, and modes of reception that make the moving image a meaningful part of people’s everyday lives. Case studies will be specifically local in focus, drawing on issues arising from Pakistan’s relationship to film and video, and asking participants to consider what makes the moving image resonant and specific in Pakistani art and public culture. Together, these two approaches will come together to provide a collaborative pedagogic space for participants to present their emerging film projects and think collectively about how they can develop them further.

W2 Schedule

MONDAY, NOVEMBER 4th
14:30-16:00 Objectives of the workshop and roundtable Eléonore Boissinot, Maroof Taj, Michel Tabet, Haya Iqbal
TUESDAY, NOVEMBER 5th
9:30-10:30 An introduction to visual methods through anthropology and documentary film techniques Michel Tabet, Eléonore Boissinot
10:30-11h15 Presentation of the research protocol
11:15-11:30 COFFEE/TEA BREAK
11:30-13:00 Preliminary field visit (Empress market): securing access, scouting and informal interviews Eléonore Boissinot, Maroof Taj, Michel Tabet, Mariam Aziz
13:00-14:00 LUNCH BREAK
14:00-15:45 Debrief and technical preparation for the fieldwork practice : How to film and what to film : defining the theme Eléonore Boissinot, Maroof Taj, Michel Tabet, Mariam Aziz
15:45-16:00 COFFEE/TEA BREAK
16:00-17:30 ROUNDTABLE DISCUSSION (ALL WORKSHOPS TOGETHER)
WEDNESDAY, NOVEMBER 6th
9:30-13:00 Supervised fieldwork practice at Empress Market filming with the phones Eléonore Boissinot, Maroof Taj, Michel Tabet
13:00-14:00 LUNCH BREAK
14:00-15:45 Debriefing images collected on the field Haya Iqbal, Eléonore Boissinot,    Maroof Taj, Michel Tabet
15:45-16:00 COFFEE/TEA BREAK
16:00-17:30 Debriefing images collected on the field Haya Iqbal, Eléonore Boissinot,    Maroof Taj, Michel Tabet
THURSDAY, NOVEMBER 7th
9:30-11:15 About the “The Pathan Sisters”, Q&A with Eléonore Boissinot

Documentary film between social sciences and cinema industry: writing differences Eléonore Boissinot & Michel Tabet

11:15-11:30 COFFEE/TEA BREAK
11:30-13:00 Funding opportunities and international coproduction Eléonore Boissinot & Michel Tabet
13:00-14:00 LUNCH BREAK
14:00-15:45 Group work: preparation of knowledge/project restitution supervised
15:45-16:00 COFFEE/TEA BREAK
16:00-17:30 Group work continues
FRIDAY, NOVEMBER 8th
9:30-11:15 Group work continues
11:15-11:30 COFFEE/TEA BREAK
11:30-13:00 Group work continues
13:00-14:00 LUNCH BREAK
14:00-16:00 Plenary group presentation by trainees
16:00-16:30 COFFEE/TEA BREAK
16:30-18:00 Valedictory Address

Feedback from resource persons, students and trainers

Delivery of certificates

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

READINGS

BARBASH Ilisa & CASTAING-TAYLOR Lucien, (1997), Cross-Cultural Filmmaking. A Handbook for Making Documentary and Ethnographic Films and Videos. Berkeley, University of California Press.

CASTAING-TAYLOR Lucien, (1998) “Visual Anthropology Is Dead, Long Live Visual Anthropology!”, American Anthropologist, New Serie 100 (2): 534-537.

COLLIER John & COLLIER Malcolm, (1999), Visual Anthropology: Photography as a Research Method, Albuquerque, University of New Mexico Press.

COOPER Timothy, (2017), “Raddi Infrastructure: Collecting Film Memorabilia in Pakistan: An Interview with Guddu Khan of Guddu’s Film Archive”, BioScope: South Asian Screen Studies, 7 (2), 151-171.,

COOPER Timothy, (2018), “Cinema Itself: Cinephobia, Filmic Anxieties, and Ontologies of the Moving Image in Pakistan”, Visual Anthropology, 31 (3), 253-267.

COOPER Timothy, (2024), Moral Atmospheres: Islam and Media in a Pakistani Marketplace. Columbia University Press.

DADI, Iftokhar, (2022), Lahore Cinema. Between Realism and Fable. University of Washington Press.

FAZILA-YACCOBALI ZAMINDAR, Vazira and ALI, Asad, dir., (2020), Love, War, & Other Longings: Essays on Cinema in Pakistan. Karachi: Oxford University Press.

GAZDAR Mushtaq, (1997), Pakistan Cinema, 1947-1997, OUP.

GINSBURG Faye, (2018), “Decolonizing documentary on-screen and off: sensory ethnography and the aesthetics of accountability”. Film Quarterly, 72(1): 39–49.

GRIMSHAW Anna, (1995), Conversations with Anthropological Film-makers: Melissa LlewelynDavies. Prickly Pear Press, no. 8. Also available at www.thememorybank.co.uk/pricklypear/8.pdf

GRIMSHAW Anna, (2001), The Ethnographer’s Eye: ways of seeing in anthropology, Cambridge, Cambridge University Press.

HENLEY Paul, (2009), The Adventure of the Real. Jean Rouch and the Craft of Ethnographic Cinema. Chicago-London, University of Chicago Press.

HENLEY Paul, (2020), Beyond Observation, A history of Authorship in Ethnographic Film, Manchester University Press.

HOCKING Paul ed., (1974), Principles of Visual Anthropology, 2nd edn, pp. 79–98. Berlin and New York: Mouton de Gruyter.

KHAN, Ali and NOBIL AHMAD, Ali, (2016), Cinema and Society: Film and Social Change in Pakistan. Oxford University Press.

KRAMER, Max, SCHAFLECHNER, Jürgen, (2019), “Between documentary and dastavezi: a slow-paced approach to theorizing transnational film-practices”. Dastavezi. The Audio-Visual South Asia, vol. 1.

MACDOUGALL, (1978), “Ethnographic Film: Failure and Promise”, Annual Review of Anthropology, Vol. 7: 405-425.

MACDOUGALL, David, (1982), « Unprivileged Camera Style », RAIN, n°50, p. 8-10.

NOBIL AHMAD, Ali Nobil and KHAN, Ali, (2020), Film and Cinephilia: Beyond Life and Death. Karachi: Oxford University Press.

PINK, Sarah, (2006), The Future of Visual Anthropology: engaging the senses, New York, Routlege.

ROUCH Jean, (1995), “The camera and man”. In Paul Hockings, ed., Principles of Visual Anthropology, 2nd ed, pp. 79–98, Mouton de Gruyter, Berlin and New York.

SIDDIQUE, Salma, (2023), Evacuee Cinema. Bombay and Lahore in Partition Transit, 1940–1960. Cambridge University Press.

SUHR Christian & WILLERSLEV Rane, 2018 “Montage in anthropology”, in CALLAN Hilary, The international Encyclopedia of anthropology, New Jersey, John Wileys and sons.

JOURNALS

Dastavezi | the Audio-Visual South Asia: https://hasp.ub.uni-heidelberg.de/journals/dasta

BioScope: South Asian screen studies, SAGE Publications : https://journals.scholarsportal.info/browse/09749276/v15i0001

FILMOGRAPHY

BOISSINOT, Eléonore, The Pathan Sisters, Dryades Films, 2023. More here: https://www.dryadesfilms.com/the-pathan-sisters

BRETON Stéphane, (2001) Eux et Moi (Them and Me), 63 min. Les Films d’Ici for Arte (France)

CASTAING-TAYLOR & PARAVEL Véréna, (2012), Leviathan, 87 min. Sensory Ethnography Lab, University of Harvard.

FERHANI Hassen, Roundabout in My Head, Centrale électrique, 2015.

FLAHERTY Robert, (I922), Nanook of the North, (Canada), (USA), 65’, 16 mm, n/b, prod. & dist. CS Associates (USA).

FOLMAN Ari, Waltz with Bashir, Les Films d’Ici and Razor Film Produktion, 2008.

IQBAL Haya Fatima, (2021), The Sky is Far, The Earth is Tough, 33 min.

KAPADIA Payal, A night of knowing nothing, 101 min, Petit chaos, 2022.

KEAN Owen, (2019), Pakistan’s Forgotten Dead, 23 min.

MAC DOUGALL David, (1972), To Live with Herds, 70 min. b&w. University of California Los Angeles, Ethnographic Film Program/ Rice University Media Center. Dist.: RAI (UK).

MANI Sahra, A thousand Girls like me, les films du tambour de soie, 2018.

DE MARCILLAC Juliette, Nightwatchers, 69 min, Dryades Films, 2023. More infos: https://www.dryadesfilms.com/nightwatchers

MARSHALL John (1957), The Hunters, 72 min. Kung series. Film Study Center, Harvard University. Dist.: DER.

MARSHALL John, (2202), A Kalahari Family, 2002. 330 min. Television series in 5 parts. Dist. DER.

OPPENHEIMER Joshua, The act of killing,159 min, Final cut for real, 2012.

PARROT Denis, Out, 62 min, Dryades Films & Upside Films, 2018 More infos: https://www.dryadesfilms.com/out

RASMUSSEN Jonas Poher, Flee, Most Films, Final cut for real, 2021.

ROUCH Jean, Les Maîtres Fous, 36’, 16 mm, couleur, 1955.

ROUCH Jean & MORIN Edgar, Chronique d’un été, 85’, 35mm, noir et blanc, 1961.

SCHAFLECHNER, Jürgen, Thrust Into Heaven, 2016.

SCHAFLECHNER, Jürgen, In the next year – Becoming Jewish in Pakistan, 2023.

SUHR, (2022), Light upon Light, 78 min.

TABET Michel, (2006) The tears of imam husayn, 45 min.

TABET Michel, (2022), Inhabiting Beiut, 45 min.

WISEMAN Frederick, National Gallery, 02h54min, US, 2014?

MORE HERE

DAP. Documentary Association of Pakistan

PIFF. Pakistan International Film Festival

FILUMS. International Film Festival

PIMFF. Pakistan International Mountain Film Festival

WIFF. Women International Film Festival