The history of my early filming and photography on an 8mm film camera, 1968-1987Filming on video from 1988; the advantagesWhat should one film? Finding a themeFilming and editing in the 1990's; the bulk of the film. Which kinds of film are effective? The unities of time, place and subjectThe value of showing films in the village; what interested the villagersUsing film in teaching; the idea of surrogate fieldwork or 'virtual reality day' Making films about how anthropologists actually do fieldworkDilmaya's death and memorial ritual in 1995; a watershed in the filmingInterviews wih Dilmaya; the value of extended narrativeThe advantages (and disadvantages) of Hi-8 from 1991 and digital film from 1998Working with television (1999) and the three-chip camera revolutionThe potentials of new film technology; combining roles in film productionSome difficulties in the audience; the limitations of narrow and broadcastingThe difficulty of getting ideas across in filmsThe development of multi-media (videodisc, DVD,WWW) as a way of combining ideas and imagesThe archival value of anthropological filmHow filming can help observation and analysis in anthropologySome tips on how to make less than awful filmsVarious anthropological data gathering methods; interviews, census, note taking...The ethics of fieldwork, especially film makingReturning materials to the societies where they were originatedA brief list of the kind of film I have taken and made
These reflections on filming among the Gurungs were made in the autumn of 2000 A.D. Alan Macfarlane talked into the camera in order to capture some of the types of film he made, the changing technologies, and some tips on how to film in the field. This was filmed on 3-chip digital video. The clips should be viewed over broadband.
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