Footage shot for the National Anthropological Film Center, Smithsonian Institution for purposes of identifying villages for a possible future film project. Aspects of daily life are featured: women and children bathing, the village-wide building of a house, children playing, men playing the flute, woman carrying toddler in a basket, mother teaching children to pound wheat, men gambling, women weaving, women drying rice in the sun on bamboo mats and washing dishes in clay pots outside. Also documented is a religious ceremony where a blessing is given, and men drum followed by a celebration of dancing and eating and villagers adorn themselves with elaborate and colorful braided headbands and red scarves.
General:
Local Numbers: HSFA 1986.13.21
Sponsor:
Cataloging supported by Smithsonian Institution Women's Committee.
Footage shot for the National Anthropological Film Center, Smithsonian Institution, to identify villages for a future film project. Aspects of daily life are featured: men leading a herd of yaks across the river, village-wide participation in contstructing an above ground house, sexual division of labor where men perform carpentry for a house and women gather water in clay pots by the river, women using thick fishing nets to gather seafood and women crossing river via a narrow log bridge. Ceremonial footage depicts pig and chicken sacrifices for the Hindu festival of Dasain.
General:
Local Numbers: HSFA 1986.13.22
Sponsor:
Cataloging supported by Smithsonian Institution Women's Committee.
Footage shot for the National Anthropological Film Center, Smithsonian Institution, to identify villages for a future film project. Aspects of Raji daily life are featured; weaving fishnets and casting them to fish; women washing and preparing vegetables; young girls bringing water up from the well; men carrying branches to use in building houses; a religious ceremony involving the planting of a tree and the blessing of "tika," a red dye mixed with rice; the use of sevearl varieties of mortars and pestles; men transporting large loads to other villages in baskets.
General:
Local Numbers: HSFA 1986.13.24
Sponsor:
Cataloging supported by Smithsonian Institution Women's Committee.
Footage shot for the National Anthropological Film Center, Smithsonian Institution, to indentify a village for potential filming projects. Regions filmed are the Western Nepali districts of Bankay, Bardia, Kahalee, Darehula, Ortadi and Surkat which feature the Purpiaragi and Bundaliraji peoples. Footage of the Purpiaraji include the muruni dance where a young boy dresses in women's clothes and dances with other boys. The Bundiliraji people, who live at the confluence of the Bari and Karnali rivers, are featured snaring a porcupine, a process that involves digging elaborate tunnels to trap the porcupine, whereby its quills are removed and it is roasted over a fire and eaten. Film sequences also document wedding preparations of a Bundiliraji bride: depicted are the bride receiving a blessing from her elders, ritual crying with her childhood female friends, carrying veiled bride to the wedding site, guests receiving rice wine, and the wedding ceremony and party. Other shots of village life portray the spirit possession of a male shaman; goat and pig sacrifices; dugout canoes; women threshing rice, maize and mustard, and a funeral service.
General:
Local Numbers: HSFA 1986.13.30
Sponsor:
Cataloging supported by Smithsonian Institution Women's Committee.
Timothy Asch was an anthropologist and ethnographic film maker who devoted his professional life to using film as a recording and teaching medium. His papers cover the period from 1966 until his premature death in 1994 and reflect his active career in the field. A large portion of the files relates to his work among the Yanomami people of Venezuela and to his concern with bias in film making.
Scope and Contents:
The papers of Timothy Asch document his career as an anthropologist, educator,
photographer and filmmaker through correspondence, photographs, research files
(articles and notes), and teaching materials (course information and lecture notes). The
files relating to Asch's film projects include articles, field notes, and reviews. The major
correspondents in this collection are Patsy Asch, Tom Beidelman, Napoleon Chagnon,
James Fox, Robert Gardner, Douglas Lewis, Peter Loizos, David & Olga Sapir, and
Minor White.
Arrangement:
The collection is arranged into the following 13 series:
Series 1) Correspondence (1953-1994)
Series 2) College and graduate School (1955-1965)
Series 3) Teaching materials (1964-1993)
Series 4) Film projects (1964-1991)
Series 5) Articles and reviews (1972-1994)
Series 6) Alpha-Subject (1955-1989)
Series 7) Conferences, film festivals, and film organizations (1963-1993)
Series 8) Grants (1962-1993)
Series 9) Other people's work (1952-1995)
Series 10) Personal and family (1951-1994)
Series 11) Photographs (1947-1991)
Series 12) Sound recordings (bulk 1960s-1970s)
Series 13) Note slips, rolodexes, and business cards (1987, undated)
Biographical note:
Asch studied photography at the California School of Fine Arts in San Francisco. While serving in the United States Army in Japan from 1951-55 he spent his off-duty hours photographing rice production and household activities in remote Japanese villages. After his military service, he enrolled in Columbia University graduating in 1959 with an undergraduate degree in Anthropology. After graduation, he went to work at the Peabody Museum at Harvard as an assistant editor to John Marshall on the Kung Bushmen film project. In 1964, he received a Masters Degree in Anthropology from Boston University where he studied in the African Studies Progam and read Anthropology with T.O. Beidelman at Harvard. In 1968, Asch and Marshall founded Documentary Educational Resources, a film distribution company. Anthropologist Napoleon Chagnon approached Asch in 1968 to film among the Yanomammmi people of Venezuela. This collaboration led to a major project resulting in over thirty films.
Chronology
1950-1951 -- California School of Fine Arts and Apprenticeships with photographers Minor White, Edward Weston and Ansel Adams
1953-1954 -- Military Service in Korea
1959 -- B.S. in Anthropology Columbia University
1959-1962 -- Ethnographic film consultant, Harvard University's Peabody Museum
1964 -- M.A. in Anthropology Harvard University
1965-1966 -- Curriculum Consultant, Ethnographic studies and the Bushmen Social Studies Curriculum Project (initially Educational Services, Inc., later called Educational Development Center)
1966-1968 -- Lecturer in Anthropology and Theater Arts, Brandeis University
1966-1968 -- Anthropology Curriculum and Media Consultant to the Newton Public Schools
1967-1994 -- Co-Founder and Director of Documentary Educational Resources, Watertown, Massachusetts, a non-profit curriculum development corporation distributing educational media
1968-1970 -- Visiting Assistant Professor, Anthropology Department, New York University
1969-1973 -- Lecturer, Department of Anthropology, Brandeis University
1973-1979 -- Research Fellow in Ethnographic film, Peabody Museum of Archaeology and Ethnology, Harvard University
1974-1976 -- Lecturer, Department of Anthropology, Harvard University
1975 -- Research Cinematographer, National Anthropological Film Center, Smithsonian Institution, Washington, D.C.
1976-1981 -- Senior Research Fellow, Department of Anthropology, Institute of Advanced Studies, the Australian National University, Canberra, Australia
1982 -- Visiting Research Scholar, Department of Anthropology at Macquarie University, Sydney, Australia
1983-1994 -- Director, Center for Visual Anthropology, Department of Anthropology, University of Southern California
Related Materials:
The Human Studies Film Archives holds 93,000 feet (43 hours) of original film footage and the accompanying sound as well as the edited films from the 1968 and 1971 film projects by Timothy Asch and Napoleon Chagnon documenting the Yanomamo Indians of southern Venezuela and northern Brazil (between the Negro and Upper Orinoco rivers).
Provenance:
Donated to the National Anthropological Archives by Patsy Asch in 1996.
Marshall, John, 1932-2005 (ethnographic filmmaker) Search this
Extent:
2 Boxes (map drawers)
3 Video recordings (published videos or video series)
99 Linear feet (714,405 feet (332 hours) 16mm film, 435 hours video tape, 309 hours audio tape, 21 published film and video titles, 29 unpublished film and video titles, 14 linear feet paper records)
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000. This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. The Marshall Collection also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's.
Scope and Contents:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and
video projects (outtake material), film production elements and edited films and videos,
audio tapes, still photographs, negatives, transparencies, slides, published and
unpublished writing by John Marshall and others, study guides for edited films, Nyae
Nyae Development Foundation and Advocacy files, maps, and production files that
include letters, shot logs, translations, transcriptions, editing logs, treatments, and
proposals spanning from 1950-2000.
This material comprises Marshall's long-term documentary record of the Ju/'hoansi of
the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the
film and video footage focuses on one particular extended family, that of Toma Tsamko,
whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent
waterhole. The life stories of some family members are captured in the footage;
appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in
the final years of visual documentation. Beginning in 1978, Marshall often conducted
lengthy and in depth interviews with many family members, in which they reflect on past,
present, and future, and often comment on specific film footage from earlier years which
was shown to them during the interviews. The collection is not limited to the /Gautcha
family, however; it also documents other Ju/'hoansi living in Nyae Nyae and elsewhere,
their relationships with neighboring ethnic groups, and national politics that affected
Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers'
Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development
Foundation of Namibia, or NNDFN), and the ways in which both groups worked with
and were affected by international development organizations and foreign aid during the
1990's. The collection also documents changes to the landscape and wildlife of the Nyae
Nyae region.
Arrangement:
This collection is arranged in 13 series: (1) Unedited Film and Video Projects, 1950-1978, 1981-2003; (2) Published Films and Videos, 1952-2002; (3) Unpublished Films and Videos, 1959-1962, circa 1965; (4) Audio, 1950s, 1978-1990; (5) Field Notes, Shot Logs, Translations, 1951-2000; (6) Production Files, 1952-2004; (7) Correspondence, 1968-2003 [bulk 1993-2000]; (8) Nyae Nyae Development Foundation & Advocacy Files, 1975-2003 [bulk 1984-2003]; (9) Published and Unpublished Writing, 1957-1958, 1980-1999, 2007; (10) Study Guides, 1974, 1982; (11) Writings by Others & Press, 1952-1953, 1965-2005; (12) Photographs, 1930s, 1946-2003; (13) Maps, 1872, 1879, 1914, 1933-1989.
Biographical / Historical:
John Marshall, filmmaker and activist, was born on November 12, 1932 in Boston, Massachusetts. He grew up in Cambridge, Massachusetts and on his family's farm in Peterborough, New Hampshire. Marshall first picked up a camera in 1950, at the age of 18, during the first of several expeditions to the Kalahari organized by his father, Laurence Marshall, the founding president of the Raytheon Corporation. The whole Marshall family - including John's mother, Lorna, and sister, Elizabeth Marshall Thomas - became engaged in a multi-disciplinary study of the Ju/'hoansi. Marshall's father assigned him the task of making a documentary film record of Ju/'hoan life and culture. Between 1950 and 1958, he shot over 300,000 feet of 16mm film (157 hours).
Marshall formed a close bond with many of his Ju/'hoan subjects, particularly with Toma "Stumpy" Tsamko, leader of the /Gautcha band. Amongst Ju/'hoansi, Marshall was known as Toma Xhosi, Toma "Longface". Probably because of this close relationship, he was forced to leave South West Africa in 1958 after his visa expired, and was not allowed back for twenty years.
During the 1960's and 1970's, Marshall became well-established as a cinema vérité filmmaker. After leaving the Film Study Center at Harvard, which he had co-directed with Robert Gardner, he worked briefly with Robert Drew and D.A. Pennebaker, and later collaborated with Fredrick Wiseman on Titicut Follies (1967). He forged friendships with leading documentary and ethnographic filmmakers, including Timothy Asch, Ricky Leacock, and Jean Rouch.
Throughout these years, Marshall continued to work with his extensive footage of Ju/'hoansi. He completed 15 short films, as well as the award-winning Bitter Melons. In 1968, Marshall partnered with Tim Asch to found Documentary Educational Resources (DER), to distribute and support the creation of ethnographic and educational film.
In 1978 Marshall was allowed to return to Nyae Nyae to shoot N!ai, the Story of a !Kung Woman. Finding his Ju/'hoan friends beset by illness, poverty, and growing social ills, John turned his attentions to development and advocacy work. Virtually abandoning his filmmaking career, Marshall started a foundation to assist Ju/'hoansi and spent most of the 1980's helping them establish water access, subsistence farming, and a local government. He began using film as an advocacy tool, and released several urgent, issuefocused videos to raise awareness of the Ju/'hoan struggle for self-determination.
Marshall continued his documentary record of Ju/'hoansi, directing his final shoot in 2000. A Kalahari Family (2002), his epic six-hour series, tells the story of the Ju/'hoansi from 1950-2000 and charts Marshall 's evolution from filmmaker to activist. He made his final visit to Nyae Nyae in 2004, and continued his advocacy work right up to his final days. John Marshall died due to complications from lung cancer on April 22, 2005.
John Marshall Chronology
1932 -- Born in Boston, Massachusetts
1950-1958 -- Marshall Family expeditions to study the Ju/'hoansi of Nyae Nyae
1957 -- Awarded B.A. in Anthropology from Harvard University The Hunters released
1958-1960 -- Associate Director (with Robert Gardner) of the Film Study Center, Peabody Museum, Harvard University
1960 -- Awarded G.S.A.S. in Anthropology from Yale University
1960-1963 -- Director, Bushmen Film Unit, Harvard University
1962 -- Sha//ge Curing Ceremony (early version of A Curing Ceremony), A Group of Women and Joking Relationship screened at Flaherty Seminar
1964-1965 -- Cameraman for NBC covering civil war in Cyprus
1966 -- Awarded M.A. in Anthropology from Harvard University
1967 -- Cameraman and Co-Director of Fredrick Wiseman's Titicut Follies
1968 -- Founded Documentary Educational Resources (DER) with Timothy Asch (first known as CDA, Center for Documentary Anthropology)
1968-1969 -- Cameraman and Director of film shoots for the Pittsburgh Police series, produced through the Center for Violence Studies at Brandeis University
1970-1974 -- Edited and released numerous short films, from both Ju/'hoan (!Kung) and Pittsburgh Police series
1972 -- Collaborated with Nicholas England (musicologist) on a film project documenting a family of drummers in Ghana (this film was never completed)
1972-1973 -- Travel to Botswana to film National Geographic's Bushmen of the Kalahari, produced by Wolper Productions
1974 -- If It Fits, documentary on failing shoe industry in Haverhill, MA, released
1976 -- Director and cameraman of film shoots for Smithsonian Festival of American Folklife
1978 -- Film shoot in Nyae Nyae for N!ai, The Story of a !Kung Woman
1980 -- N!ai, The Story of a !Kung Woman released and broadcast on PBS as partof the Odyssey series
1980-1982 -- Conducted genealogical survey in Nyae Nyae with Claire Ritchie
1982 -- Founded the Ju/wa Cattle Fund (later known as the Nyae Nyae Development Foundation of Namibia)
1985 -- Pull Ourselves Up or Die Out, Marshall's first "field report" edited on video, released
1989 -- Returns to Boston after Namibian independence
1991 -- To Hold Our Ground, another "field report" is aired on Namibian television shortly before a national Land Rights Conference
1993 -- The Cinema of John Marshall published
1995 -- Awarded Honorary M.F.A. from Rhode Island School of Design
2000 -- Final video shoot in Nyae Nyae
2002 -- A Kalahari Family premieres at the Margaret Mead Film Festival in New York City; released for general distribution in 2003
2004 -- Makes final visit to Nyae Nyae; presents proposal for water point protections
2005 -- Dies in Boston, Massachusetts
Orthography Note:
Ju/'hoansi are the speakers of the Ju/'hoan language. Various cultural descriptors used
over the years include !Kung which is a language group containing three dialect groups,
one of which is the Ju/'hoansi; San, which is now regarded by the Ju/'hoansi to have
negative connotations; and Bushman, which ironically (given the derogatory history of
this term) is now preferred by the Ju/'hoansi as a term of dignity. (Orthography
information provided by Dr. Polly Wiessner, University of Utah anthropologist and longtime
field worker among and researcher of the Ju/'hoansi.)
The orthography of the Ju/'hoan language has changed many times, though an official
orthography was agreed upon and accepted by the Namibian government in 1991. The
finding aid, cataloging records, and shot logs for the Marshall collection at Human Studies Film Archives
continue to use the orthography used by the Marshall family beginning in 1950. These
spellings are usually anglicized versions of the official orthography. For example, the
name ≠Oma was usually rendered by the Marshalls as Toma; the place name /Aotcha as
/Gautcha or Gautscha.
The majority of the footage was shot in a region of Namibia (formerly South West
Africa) known as Nyae Nyae. In the 1960's, a portion of the Nyae Nyae area was
officially established as a homeland for Ju/'hoansi by the South West African
administration. This area, once called Eastern Bushmanland, is now known as Eastern
Otjozondjupa, however it is still referred to as Nyae Nyae by Ju/'hoansi and others. The
Nyae Nyae Conservancy, which encompasses a large portion of Eastern Otjozondjupa,
was established in 1996.
Filmography:
JU/'HOAN BUSHMAN FILM SERIES
1952 -- First Film [also known as !Kung Bushmen of the Kalahari] (by Lorna Marshall)
1957 -- The Hunters
1959 -- A Curing Ceremony
1961 -- A Group Of Women
1962 -- A Joking Relationship
1966 -- !Kung Bushmen Hunting Equipment (directed by Lorna Marshall)
1969 -- N/um Tchai: The Ceremonial Dance of the !Kung Bushmen
1969 -- An Argument About A Marriage
1970 -- The Lion Game
1970 -- The Melon Tossing Game
1971 -- Bitter Melons
1972 -- Debe's Tantrum
1972 -- Men Bathing
1972 -- Playing With Scorpions
1972 -- A Rite of Passage
1972 -- The Wasp Nest
1974 -- Baobab Play
1974 -- Children Throw Toy Assegais
1974 -- The Meat Fight
1974 -- Tug-Of-War
1980 -- N!ai, the Story of a !Kung Woman
1985 -- Pull Ourselves Up Or Die Out
1990 -- To Hold Our Ground: A Field Report
1991 -- Peabody Museum !Kung San Exhibit Video
2002 -- A Kalahari Family
In addition to Marshall's many published films on the Ju/'hoansi, he was also involved in a variety of other film projects. He shot and co-directed Titicut Follies, a film by Fredrick Wiseman. Working in association with the Lemburg Center for Violence Studies at Brandeis University, he shot and directed a series of short films about a police squad in Pittsburgh, PA, known as the Pittsburgh Police series. He also shot and directed If It Fits, a film about the failing shoe industry in Haverhill, MA. Marshall was also the subject of two television programs: Bushmen of the Kalahari, a National Geographic special which aired in the United States, and a Japanese program called Forty Years in the Kalahari, part of the television series, Our Wonderful World. All of these, as well as Marshall's Ju/'hoan films, are included in this filmography.
PITTSBURGH POLICE SERIES
1970 -- Inside/Outside Station 9
1971 -- Three Domestics
1971 -- Vagrant Woman
1972 -- 901/904
1972 -- Investigation of a Hit and Run
1973 -- After the Game
1973 -- The 4th, 5th, & Exclusionary Rule
1973 -- A Forty Dollar Misunderstanding
1973 -- Henry Is Drunk
1973 -- The Informant
1973 -- A Legal Discussion of a Hit and Run
1973 -- Manifold Controversy
1973 -- Nothing Hurt But My Pride
1973 -- Two Brothers
1973 -- $21 or 21 Days
1973 -- Wrong Kid
1973 -- You Wasn't Loitering
OTHER FILMS
1967 -- Titicut Follies (Co-Director, Cinematographer; film by Fredrick Wiseman)
1972 -- Ghana Drumming (uncompleted; collaboration with Nicholas England)
1974 -- Bushmen of the Kalahari (by Wolper Productions for National Geographic)
1975 -- Vermont Kids (series of short films; released in 2007)
1976 -- Festival of American Folklife (uncompleted; shot for Smithsonian Institution)
1978 -- If It Fits
1988 -- Our Wonderful World: Forty Years in the Kalahari (by Nippon A-V Productions)
Related Materials:
The Human Studies Film Archives holds several related collections, including:
• The Nicholas England Collection, which consists of audio recordings from 1951-1961. This collection contains both originals and duplicates of audio tapes recorded during the Marshall Expeditions. (2005.9)
• The Journal of Robert Gesteland, kept during the Marshall !Kung Expedition VI, 1957-58. (2007.17)
• Master copies of the full film record of Bushmen of the Kalahari (1974), a television
program featuring John Marshall's 1973 visit to the /Gwi San of Botswana, produced by Wolper Productions for National Geographic. (2008.12)
• Reference copies of the full video record of Our Wonderful World: Forty Years in the
Desert, Nippon A-V's 1988 Japanese television program about John Marshall and the Ju/Wa Bushman Development Foundation. (2009.2.1)
• Master copies of the videotape "library" kept by John Marshall for reference and stock footage purposes. Compiled from various sources, the videos include news programs, documentaries, and raw footage of Ju/'hoansi and other San peoples from the 1920's --1990's, as well as interviews with John Marshall and his mother, Lorna
Marshall. (2009.2)
• Additional audio recordings, including interviews with Ju/'hoansi made by John Marshall and others. (2009.3)
• Full film record of [Ghana Drumming, 1972], an uncompleted project undertaken by John Marshall and Nicholas England, which documents a family of musicians. (2008.11)
The Papers of Timothy Asch, held at the National Anthropological Archives, contain
information on Asch's work with John Marshall at Harvard University from 1959-1963,
their collaboration in founding DER, and details on the use of Marshall's Ju/'hoan
footage in the development of MACOS (Man, A Course of Study).
There are also several closely related collections held at the Peabody Museum of
Archaeology and Ethnology, Harvard University. These collections relate to the 1950's
Marshall Expeditions and include: Expeditionary Notebooks and Journals of Lorna and
Laurence Marshall; Journal of Elizabeth Marshall Thomas; the Marshall Family
Photograph Collection; and the Records of the South West Africa Expeditions, 1950-
1959. The Harvard Film Archive, Harvard University, holds film prints of several of
Marshall's published films on the Ju/'hoansi, including The Hunters.
Provenance:
The John Marshall Ju/'hoan Bushman Film and Video Collection was received over several years of accessioning from different parties.
Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Pennsylvania State University. Audio-Visual Services Search this
Extent:
Film reels (black-and-white color silent sound)
Type:
Collection descriptions
Archival materials
Film reels
Silent films
Sound films
Place:
Africa, East
Africa, Central
Africa, North
Africa, West
Europe
North America
Oceania
South America
South Asia
Southeast Asia
Date:
1938-1978, undated
Scope and Contents:
Collection consists of at least 79 film prints retired from Penn State's Audio-Visual Services Library.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or Anthropology Archives, but is available in its original form to facilitate research.
Provenance:
Received from Pennsylvania State University Audio-Visual Services in 1994.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
File consists of handwritten notes, preliminary program, conference program and abstracts, diagrams of film and video equipment, charts, proposal for the founding of a society for visual anthropology, program of the American Anthropological Association in ethnographic film.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Ethnographic film documents life in a valley of the Llanos Riojanos, San Juan Province, western Argentina. Shot over several years, the film shows both tradition and change and features narration by local residents. Film was shot in the 1960s and released in 1972.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film documents the life of a family in the Western Pampas, Argentina over the course of one year. The primary focus is Cochengo Miranda, a former folk singer who works as a rancher to support his family. Special attention is paid to the transculturation that is taking place and the differences in life for the older and younger generations. Film was shot in 1973 and 1974 and first released in 1974. In 1979, Prelorán produced an English language version and may have re-edited the Spanish version. In 2003, he updated the titles and credits in the English version. He may also have re-edited the English version at that time. The HSFA holds three version.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film documents a family of woodcutters living in isolation in the mountains of Calden, at the geographic center of Argentina. Through his narration, Sixto Ramon Zerda explains his wish for his children to be educated and to avoid the punishing work and exploitation he has suffered. Film was shot in 1974 and released that same year. In 1978, Prelorán produced an English language version, introduced by Henry Fonda. In 1994, Prelorán updated the titles and credits in the Spanish version, and may also have re-edited the film. The HSFA holds two versions.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film documents the Warao Indians who live along the waterways of the Orinoco Delta, Venezuela. Includes footage of daily life, conflict resolution, and a curing ritual. Some filming was done by Chick Strand, who shot her film, Mosori Monika, at the same time. Film was shot in the summer of 1969 and first edited and shown in 1970. The film was re-edited and officially released in 1974. The HSFA holds two versions.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
