Anthro-film Laboratory 55

Film Screening and Discussion with PANÁKOVÁ Jaroslava

Date & Time: May 21st 2024, 15:30,
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
※reservation is not required.

会場:国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1

Presenter: PANÁKOVÁ Jaroslava
(Senior scholar at the Institute of Ethnology and Social Anthropology, Slovak Academy of Sciences, Visiting Research Scholar, Center for Northeast Asian Studies, Tohoku University)

Discussant: KAWASE Itsushi
(National Museum of Ethnology, Japan)

Film: Five Lives
75’, original language – Russian, with English subtitles
Direction, photography, production: Jaroslava Panáková,
Film editing: Šimon Špidla, Film score: Jonatán Pastirčák

Trailer in English:

Viktor Valerievich Mumichotkak nicknamed Mucha, Chukcha from Novoe Chaplino (Chukotka, Russia) died tragically in 2012. Someone stabbed him and cut off his fingers. When young Alle Ukuma's son was born in 2014, her mother told her: "Last night I dreamed of Mucha, he came back in your boy, we will call him Viktor". According to locals, the deceased can return to life up to five times. The film essay about life, death and a possible return prompts a generally valid question: How can one learn to accept one's finitude?
Logline: Death is the end. But I can't see it from here.

PANÁKOVÁ Jaroslava パナーコヴァ・ヤロスラヴァ

Position at the CNEAS visiting associate professor at the CNEAS, Tohoku University (4/1/-6/30/2024)
The project is supported using public funding by Slovak Arts Council and CNEAS, Tohoku University.

Jaroslava Panáková, a visiting associate professor at the CNEAS, Tohoku University, is a senior research fellow at the Institute of Ethnology and Social Anthropology, Slovak Academy of Sciences in Bratislava, Slovakia. She received her doctorate in Sociology of Culture from Saint Petersburg State University, and her MA in documentary cinema from Prague’s FAMU. She was a postdoc fellow at the Max Planck Institute for Social Anthropology in Halle, CNRS in Paris, and Vienna University.
Jaroslava has conducted her field research on northern peoples in Saint Petersburg and Chukotka, looking comparatively at temporary migration, indigenous tourism, and identity. Her monograph Visual Regimes of Russian Beringia (2020) [SK] focuses on various genres of visual representations and self-fashioning in the Soviet and post-Soviet Chukotka. She is now preparing a book on death and the visuality of commemoration. Her recent research interests include olfaction and ecological anthropology. She attempts to bring sensory and multimodal methodologies into studying both arctic tundra and Carpathian meadow.

Anthro-film Laboratory 54

Film Screening and Discussion with Jacobo Sucari

Date & Time: 16th May (Thu) 2024 15:00-
Venue: Ritsumeikan University, Kinugasa Campus, Jukokan, B1F, Theater Room
56-1 Toji-in Kitamachi, Kita-ku, Kyoto, 603-8577
※reservation not required.

〒603-8577 京都府京都市北区等持院北町56−1

Script and Direction: Jacobo Sucari
Music: Joan Saura
Length: 59min 30sec
Languages: Catalan/ Spanish with English subtitles.

The “Struggle for Urban Space” is one of Jacobo Sucari's documentary series works on the old factory district of Poblenou in the city of Barcelona. This line of research on urban transformation has been developed by Jacobo Sucari in documentaries and audiovisual installations over the last 11 years.
The documentary “Struggle for Urban Space” deals with the dramatic changes that urban development is inflicting on the landscape and the inhabitants of Barcelona’s Poblenou district. This old industrial neighbourhood of factories and workshops is suffering a major process of transformation as a result of the City Council’s Regeneration Programme known as 22@. It aims to convert Poblenou into an important centre for state-of-the-art technology and associated services. “Struggle for Urban Space” shows the reactions of the different neighbourhood organisations, displaced factory workers, artists sharing workshops and squatters active in the area.
The documentary works its way into this whole social fabric reflecting the conflict between the old and the new, between heritage as a social memory and progress as some beautiful angel of doom.


Documentary filmmaker, musical improvisation instrumentalist and writer.
PhD Professor at the Faculty of Fine Arts, University of Barcelona (UB).
My artistic work is based on the intersection of image, text and sound, constructed in a synchronic way, as an audiovisual composition. In my videography the narratives are often abstract or experimental; in others, closer to the documentary genre, the plot assumes a dramatic development.
My works have been presented in different spaces and contexts, both in the artistic tradition such as museums and galleries, as well as in the cinematographic tradition: festivals, cinemas and programming in different TV channels.

I am currently working on a writing project within the framework of the essay on technopolitics entitled "Chronicles of Mundo Chungo", and on a documentary film "The Myth of the Absent", about the philosopher Walter Benjamin and the border crossing between France and Spain where he died in 1940.

More information about the author at

Collaboration: Makiko Maruyama

Anthro-film Laboratory 53

Film Screening and Discussion with Erminia Colucci

Date & Time: Feb 22nd, 15:30–, 2024
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
※reservation is not required.

会場:国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1

Presenter: Erminia Colucci
(Professor, Department of Psychology, Middlesex University,
Visiting Research Scholar, Center for Southeast Asian Studies, Kyoto University)

Discussant: Chika Yamada
(Assistant Professor, Center for Southeast Asian Studies, Kyoto University)


Harmoni -Healing Together-

Harmoni -Healing Together-
Directed by Erminia Colucci, 2021, 98min
Language: English, Indonesian, Balinese, Sundanese, and Manggarai with English subtitles.


As a nation of 270 million, Indonesia is facing the grave task of caring for millions of people living with mental illness. Many have experienced human rights abuses in their lifetime. In communities rich in their traditional and religious values, Indonesian faith-based or traditional healers and mental health professionals work tirelessly to improve mental health care and prevent human rights abuses. In the face of scepticism, can they negotiate their way to achieve successful collaboration instead of being antagonists?

‘Harmoni: Healing together’ explores these collaborative practices in three islands - Java, where the communities are predominantly Islamic, Hindu communities in Bali, and Catholic communities in Flores. The dream of a family home, making sense of illness and spirits through rituals, dilemmas over medicine use, and the embrace of co-existing spiritual and medical perspectives are some of the main themes presented in this innovative film.

Part of “Together for Mental Health”, an interdisciplinary, international collaboration between Indonesia, Ghana and the UK. Using visual methods, it explores examples of collaboration between mental health workers and pluralistic healing approaches and their impact on preventing human rights abuse and improving care for people living with mental illness experience.

Harmoni -Healing Together-

About the filmmaker/presenter

Dr. Erminia Colucci is Professor of Visual Psychology and Cultural & Global Mental Health in the Department of Psychology at Middlesex University London (UK) and Visiting Professor at Gadjah Mada University (Indonesia). Erminia has a background in Cultural Psychiatry (PhD), Visual Anthropology (MPhil), Education (PGCert), Data Analysis (PGDip) and Cultural and Community Psychology (BSc and Hons). Her main area of research are human rights and mental health, suicide and suicide prevention, domestic violence against women and children, spirituality and faith-based/traditional healing, and first-hand stories of people with lived-experience of ‘mental illness’ and suicidal behaviour, with a focus on low-middle income countries and ethnic minorities and refugee populations. Erminia is passionate about using arts-based and visual methodologies, particularly photography and ethnographic film-documentary and participatory visual methods, in her research, teaching and advocacy activities. Erminia is the founder of Movie-ment(, Aperture -the first Asia-Pacific ethnographic documentary festival- and Co-chair of the World Association of Cultural Psychiatry SIG on Arts, Mental Health and Human Rights ( For more info and

Dr. Erminia Colucci

Anthro-film Laboratory 52

Work-in-progress Film Seminar

Azmari -The Fest of Voices-

会場:国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1

Date & Time: December 14th, 15:30–, 2023
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
Reservation is not required.

Azmari -The Fest of Voices-

Directed by Itsushi Kawase, 70min, Amharic (English subtitle)
Shooting: 2022-2023 (including footages from 2002-2003),
Location: Gondar, Addis Ababa, Tokyo

The Fest of Voices

The Azmari, who play the one-stringed fiddle called masenqo, are hereditary musical professionals who have made music their livelihood in the communities of the Ethiopian highlands since ancient times. Azmari simultaneously serves as a resistance against the rulers and as representative voices of the people for social and political satire and debate through songs. The performances by Azmari are characterized by the improvisation of poetry, not only by the singer but by the audience, who improvise and throw their own poems at the singer. Azmari’s songs serve as a mirror, reflecting the social situation and feelings of the locals. This film follows the performance activities of Solomon Ayanaw, an Azmari working in Addis Ababa, and examines issues surrounding the transformation, authenticity, and inheritance of Azmari culture through conversations between the anthropologist/filmmaker, Itsushi Kawase, and Solomon, his relatives, and the audience.

発表者/ Presenter 川瀬慈 Itsushi Kawase
ディスカッサント/ Discussant 秦岳志 Takeshi Hata, ロッセラ・ラガッツイ Rossella Ragazzi

The Fest of Voices

Anthro-film Laboratory 51

Film Screening and Discussion with Lisa Spilliaert

会場:国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1

Date & Time: October 13th, 15:30–, 2023
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is required by October 10th

Film 1:

2020, 60min, Escautville production
英語字幕 English Subititle


ある夏の日本を舞台に、故・高瀬皿男の謎めいた小説『N・P』 に魅了された4人の若者が、その1冊の本によって結びつけられてゆく様子が描き出される。翻訳と原作とはどう関係するのか?フィクションと現実とは?人生は、どこまでが決められた物語として演出されたフィクションなのか?そして、登場人物の間でしばしば起こる近親相姦的な相互作用の本質とは何なのか?主人公の加納風美を演じるのは、監督の実の妹でアーティストとして活動しているクララ・スピリアールト。風美と奇妙な友情を育む箕輪萃を演じるのは、振付家・ダンサーの川村美紀子。原作者・吉本ばななからは「この世に川村さん以上にリアルに翠を演じられる人はこれまでもこれからもいないと思う」と評された。劇中、台詞は聞こえない。俳優たちには物語のメモを渡し、自分たちの言葉で解釈して自由に話をさせながら撮影。その後、映像を無音にし、状況音とノイズミュージックを後付けして、字幕とインタータイトルで物語るという独自の手法がとられている。

In this silent film, set during one Japanese summer, four young people discover how one book unites them. All four are fascinated with the novel N.P by the late and mysterious Sarao Takase. The eponymous film N.P dissects the young characters’ complex web of relationships. How does a translation relate to the original? How does fiction relate to reality? And what is the nature of the often incestuous interaction between the protagonists?
The strikingly beautiful colours of the summer define the mood and atmosphere of the film, turning its complex, dark heart into a serene and glowing meditation on the young and on the influence of past experiences on one’s life.

Film 2:

2022, 29min. Escautville production
日本語・英語字幕 Japanese/English Subititle



In Spilliaert, filmmaker Lisa Spilliaert inquires into her blood relationship with the renowned Belgian artist Léon Spilliaert. Is she predestined to an artist’s life by this kinship, which may or may not be fictional? Is artistry genetically transferred? She reveals herself as a rapping, fanatical genealogist who probes into the origins of her artistic identity.
Lisa Spilliaert visits archives and museums, painting a picture of the hopeless search for documents and clues concerning her origins. She eventually ends up in the middle of her genealogical fantasies, represented in a ceramic sculptural family tree designed and made by her sister Clara. In Ostend’s Center for Genealogy, the protagonist tries to substantiate her claim of kinship with certificates and registers.
Spilliaert specialist Anne Adriaens-Pannier briefly introduces the historical figure of Léon Spilliaert (1881-1946) and his life in Ostend, his particular personality, his special relationship with the city of Ostend and the sea, his artistry and, of course, his outstanding oeuvre.
A descendant of Léon Spilliaert, who chooses to remain anonymous, relates his memories and his personal relationship to the oeuvre of his great-grandfather. Once again, the question arises of the difference between real memories and retrospectively constructed meaning.
Spilliaert's narrative structure is strung together by a number of rap poems, performed by Lisa Spilliaert. By choosing this form, she uncovers parallels and contrasts between rap music’s free identity construction and the strictly regulated structure of genealogy.
All these strands culminate in a strange encounter between Lisa and Léon Spilliaert, during which the absurdity of the desires projected onto the past is undermined.

発表者 | Presenter

リサ・スピリアールト | Lisa Spilliaert

1990年東京都生まれ。ベルギー・ゲントの王立美術アカデミー大学院写真科修了。系譜学への強い関心と自伝の物語性を題材とした作品を制作している。2014年ベルギー西フランダース州美術賞大賞受賞。以来ロッテルダム国際映画祭(2015・2017年)等で作品を発表、2015年にはモノグラフ出版。長編デビュー作である「N・P」はFIDMarseille(2020年マルセイユ・フランス)で初公開され、Berwick Film&Media Arts FestivalやUnderdox Munchenをはじめ数多くの映画祭で上映された。個展はこれまでBeursschouwburg(2017年ブリュッセル・ベルギー)とBrakke Grond(2022年アムステルダム・オランダ)で開催。ベルギー・アントワープのプロダクションEscautvilleのメンバーとして現在は新作映画を制作中。

Lisa Spilliaert (1990, Tokyo) lives and works in Ghent, Belgium. Her fascination for genealogy and the constant shifting between her cultural backgrounds are recurring motifs in her autobiographically inspired work.

Anthro-film Laboratory 50

In between Reality and Fiction : Collaborative Methods of Filmmaking with Migrants

Masterclass by Laurent Van Lancker

Date & Time: August 29th, 14:00–, 2023
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is required by Aug 25th

日時:2023年8月29日(火)14:00–, 2023
会場:国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1

Film 1. Kalès (2018) - 63'
directed by Laurent Van Lancker

An intimate and immersive perspective on the ‘Jungle of Calais’, evoked by a polyphony of men, stories and feels. A sensory journey through the daily life of migrants, characterized by survival strategies. A film of wind and despair, of fire and solidarity, of hope and hell.
In close cooperation with some former residents of the 'Jungle of Calais’, Laurent van Lancker offers a poetic and political view on the daily life of migrants, which he experienced during his frequent visits of the ‘Jungle’. Some of the images were filmed by the migrants themselves, evoking a great intimacy. Kalès offers a view on the lives of migrants in the European transit zones and the human capacity to adapt to all situations.


Film 2. we others (nous autres) (2022) - 90'
directed by Laurent Van Lancker

This fictional documentary was created through a collaborative process with contemporary migrants who embody and appropriate European emigration stories of the past and combine them with their own migratory experiences. A poetic and political film, in which autobiographical tales, archives and dreams of the past and the present, blend to evoke a sensory and epic experience.
Locked up and hidden in a truck, eight contemporary migrants from various countries try to survive the hunger and anguish of a long illegal journey across borders. Little by little, in the darkness of the lorry trailer, they get to know each other and share their life stories.
But the stories they tell are not only their own journeys, but also personal stories of a century ago from European emigrants (Ukraine, Russia, Italy, Belgium). This film articulates many resonances between past and present migrations and reveals how historical amnesia is alive in our perception of migration.



About the filmmaker/presenter

Laurent Van Lancker both studied Film and Anthropology, and holds a PhD in Audiovisual Art. He is Professor in Audiovisual Anthropology at Aix-Marseille University, where he started a research group on “Alternative Narrative Ethnographic Forms”. He co-founded SIC – SoundImageCulture project lab. He made fifteen films (experimental, documentaries and fictions) and won nine awards. His early documentary works explored social and religious themes. Followed by a series of short works called 'Experimental Ethnographies'. Lately, he made three long-feature films around migration themes. His works draw on various modes: Collaborative, Hybrid and Sensory cinema. They propose a dialogue between ethics and aesthetics, poetics and politics.

Anthro-film Laboratory 49

交渉するマルチモーダル人類学 ― 映像とテクストの〈あいだ〉、人類学知と先住民知の〈あいだ〉

日時:2023年7月9日 13:00-17:50
   第1部:映像上映 (開場12:30) 13:00-14:00
   第2部:ディスカッション 14:30-17:50
会場:立命館大学衣笠キャンパス 充光館シアター型教室(JK001)
   〒603-8346 京都府京都市北区等持院北町56−1





 第1部の「映像上映」では、南米コロンビアはクベオ人の失われた音について考えるカストゥリジョン博士の『Kirainia』(40分)、ルワンダとコロンビアというそれぞれのフィールドについてカストゥリジョン博士とふくだぺろが音とイメージのみで対話した音―イメージ・ダイアローグ『Read Letters and Asynchronous Perspectives(RLAP)』(10分)を視聴する。



1 ペンシルバニア大学では、2018年に研究教育機関である実験民族誌センター、アーティストと研究者の協働コレクティブCAMRA、メディア芸術祭SSMFを設立し、実践的かつ多感覚的な知へのシフトや学術と社会の新しい協働関係を掲げて、北米のマルチモーダルシーンを牽引してきた。

Read Letters and Asynchronous Perspectives(RLAP)
Read Letters and Asynchronous Perspectives(RLAP)











社会学者。専門はメディア/文化研究。東京藝術大学・大学院国際芸術創造研究科教授、音楽学部音楽環境創造科教授、未来継承創造センター長。特に現代美術や音楽、メディアなど現代文化と都市空間の編成や社会運動をテーマに批評活動を行う。主著に『バンクシー:アート・テロリスト』(光文社新書)、『ストリートの思想』(日本放送出版協会)、『文化=政治』(月曜社)、『増補 ポピュラー音楽と資本主義』(せりか書房)、編著に『アフターミュージッキング』(東京藝術大学出版会)ほか。


Anthro-film Laboratory 48

Film Screening and Discussion with Inge Daniels

Date & Time: December 16th, 15:30– , 2022
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is not required

日時:2022年12月16日(金)15:30–, 2022
会場: 国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1

She Waves At Me
Directed by Inge Daniels, 2022, 20 min.

‘She Waves At Me’ explores what it feels like to be an aging body in an aging housing estate. The film, based on 18 months of ethnographic fieldwork in Central London, juxtaposes the intricate care that goes into maintaining the buildings and their surroundings with elderly inhabitants’ struggles and strategies to create safe and comfortable homes for themselves and their loved ones.

Inge Daniels Professor, University of Oxford

She Waves At Me

Anthro-film Laboratory 47【this event is canceled】

Palimpsest of the Africa Museum
- Film Screening and Discussion with Matthias De Groof -

Presenter : Matthias De Groof

Date & Time: July 21st, 15:00–, 2022
Venue: National Museum of Ethnology, 2nd Floor, Theater Room
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is required by July 19th

会場: 国立民族学博物館2階 シアタールーム
〒565-8511 大阪市吹田市千里万博公園10-1

Palimpsest of the Africa Museum
Directed by Matthias De Groof, 2019, 69 min, French, Nederlands (English Subtitles)

In 2013, the Royal Museum for Central Africa closes for renovation. Not only the building and the museum cabinets are in need of renewal: the spirit of the museum has to be brought into this century. In COMRAF, a board of advisers, the process of decolonization leads to fierce discussions.
While disassembling the metre-high statue of Leopold II, his ghost wanders through the corridors and halls of the museum. The renovation of the Museum for Central Africa is an opportunity to give a modern interpretation to the museum's existence and mission. The stuffed wild animals, the traditional masks and the dusted artifacts are to make way for a more complete, modern view on Africa. The museum calls on the help of experts and initiates consultations with representatives of African organizations that have joined forces in a structure set up for this purpose, COMRAF. Exhibiting the minerals from the Congolese soil is no longer just a matter of scientific explanation. We must also consider the horrific conditions in which these raw materials were mined and the disruptive consequences for Congolese society. But in order to completely dislodge the majestic building from its colonial form, more fundamental questions also need to be asked. Who is looking at whom here? And whose story is being told here?

Palimpsest of the Africa Museum

About the Filmmaker

Matthias De Groof is an award-winning filmmaker whose films (Lobi Kuna, Palimpsest…) have been presented at venues like the IFFR, FIFA and the Berlinale. His edited book on Lumumba in the Arts is published with Leuven University Press, and reached the top-100 "books to escape the news" (LitHub). He has held fellow appointments at the New York University’s Tisch School of the Arts as a Fulbright scholar; the Helsinki Collegium for Advanced Studies; and the Africa Multiple Cluster of Excellence of the Bayreuth University. Currently, De Groof is guest-professor at the UA and VUB, and postdoctoral researcher at the Waseda University in Tokyo. He will continue his research as a Marie Skłodowska-Curie Fellow at the University of Amsterdam and the Rachel Carson Center for Environment Humanities.

Anthro-film Laboratory 46


会場: 国立民族学博物館(館内会場については、参加者の数にあわせて決めます)
〒565-8511 大阪市吹田市千里万博公園10-1




30-40分 (日本語字幕)


There is No Sound of Kane Gong Here This Year Again:
Record of 2021 Japanese Gong Ensemble in Kitashida, Saga Prefecture


This documentary film focuses on folk performance art involving an ensemble of Japanese gongs.
These performances are very rare in Japan and are primarily practiced in Northern Kyūshū, including the Saga prefecture; they perform with gongs, drums, and flutes. This documentary recorded the activity of the Kitashida-no-Kane-buryū (Gong Ensemble of Kitashida) in 2021 as they practiced in Kitashida section of Ōaza-Kuma, Shiota town, Ureshino city, Saga prefecture.
Through interviews with local people in 2021, this film will discuss the possibilities and hopes of overcoming the situation of lack of flute players.
The 46th World Conference of the International Council for Traditional Music発表予定

Anthro-film Laboratory 45

ドイツの映像人類学派HMKW Berlin, M.A. Visual and Media Anthropology
- 修士論文の中間発表およびディスカッション-


日時:2021年10月25日 (月) 14:00–

他者の視点 — 日本の難民に対するイメージを通して

発表者:櫻井 環(HMKW Berlin, M.A. Visual and Media Anthropology)





発表者:渡邊 由美(HMKW Berlin, M.A. Visual and Media Anthropology)

ペルー東部アマゾンに住むシピボ族の“世界(Neto)”は, 一連の規則と多様な存在者を包摂する自然から成る. 彼らの世界では, すべての存在者が空気(Niwe)を吸うことで命を得ると同時にNiweを媒介に繋がっているため, 人間の好ましくない性質や病の要因にも見える/見えない存在者が発するNiweの影響を考慮する必要があるという.
Onayaと呼ばれるシャーマンは, 薬用植物の力を用いることでこのような見えない存在者が放つNiweを知覚し, 病を治癒する治療師としての役割を担ってきた. 彼らはDietaと呼ばれる修行中にみる夢を通して, 薬用植物のスピリットとの間に相互扶助的な信頼関係を構築することで, 植物のもつ治癒力を授かるという.
本論文は, シャーマン歴30年超の2人のシャーマンがDieta中に見た夢とその解釈の仕方に焦点をあてることで, シピボ族のシャーマンたちがどのように植物との関係性を構築しシャーマンとしての能力を獲得していくのかを明らかにしようとするものである.


社会空間的排除と周縁化される人々の〈生きられた経験〉の可視化の試み — 東京におけるホームレスネスを事例として

発表者:丹羽 理(HMKW Berlin, M.A. Visual and Media Anthropology)

本論文は、空間を構成する本来的な異種混淆性と生成変化に注目するマッシーの空間認識論(Massey, D. 2005. For Space)を理論的枠組みとしつつ、東京における野宿者の人々のエスノグラフィーと視覚メディアによる可視化の実践を通じて、社会空間的排除の問題を再帰的に検討することを試みるものである。



櫻井 環(さくらい たまき)
2016年立教大学法学部政治学科卒業後、映像や技術を使用した空間演出や作品を制作する会社で勤務したのち、HMKW Berlin, M.A. Visual and Media Anthropologyに入学。2013年より、日本における難民の2世の学習支援事業などに取り組んでおり、現在は難民連携委員会(RCCJ)の学習支援事業のコーディネーターとして活動中。

渡邊 由美(わたなべ ゆみ)
熊本生まれ。フリーランスの経営コンサルタントとして活動する傍ら, 2010年にシピボ族の植物療法に出会いその虜になる。2017年7月よりペルーアマゾンに活動の拠点を移し, シャーマンと暮らしながら植物療法を学ぶ。2019年10月HMKW Berlin, M.A. Visual and Media Anthropology入学。

丹羽 理(にわ さとる)
2009年よりフォトジャーナリストとして活動を始める。主な取材歴としてはアラブの春におけるエジプト革命、フィリピン北部カリンガ州の違法金鉱山、東日本大震災など。視覚表現のオルタナティブな手法とその可能性を求めて、2019年よりHMKW Berlin, M.A. Visual and Media Anthropologyへ参加。

Anthro-film Laboratory 44

The Image-making from Africa, Part 2 -Perspectives from Visual Anthropology- (Zoom Meeting)

Date: 2021 March 16th 17:00~19:00 (Japan time)

This event is co-organized by African Studies Center, Tokyo University of Foreign Studies
and Kanto Branch of Japan Association of African Studies.
※Please submit the online registration form by March 14th.

Note that the meeting will be recorded for future publication.

Ethnographic film practices of various kinds from across the globe are entwined with new forms of audiovisual expressions and approaches. These practices detach visual anthropology from its Western colonial legacy and expand the horizon of knowledge creation, storytelling and collaborative research in humanities. Following the previous discussion in Part1, we dig into prospects and challenges facing the image-making on Africa more deeply through watching and discussing about two graduation films of the master course in Maroua University in Cameroun.

Itsushi Kawase
National Museum of Ethnology, Japan

Ran Muratsu
African Studies Center, Tokyo University of Foreign Studies

Takanori Oishi
African Studies Center, Tokyo University of Foreign Studies

Film 1
Ladde salori, the impossible life in the bush
Filmmaker: Hamidou Hamidou
Year of production: 2020
Location: Cameroun
Duration: 36 minutes
Sound: mono
Language: Fulfulde, French (English and French Subtitles)

The film “Laddé Salori” the impossible life in the bush” portrays three Mbororo Fulani refugees’ brothers from the Central African Republic living in Meidougou, a small village in rural Cameroon. Due to violence and abduction by criminals throughout the bush areas in their region, they can no longer live their traditional pastoralists’ way of life. The days of freedom and wealth are over and their large herds have disappeared. Their cattle have been sold away to pay ransoms. The nomads had to flee and have been forced to settle. The film follows the three men’s everyday life struggle. They are obliged to start cultivating and to send their children to school. Adapting to a monetary economy in sedentary lifestyle is challenging and humiliating to them.

Film 2
Happier than a millionaire (A l’aise plus qu’un millionnaire).
Filmmaker: Atouna Michel
Year of production: 2019
Location: Maroua, Cameroon
Duration: 24 minutes
Sound: mono
Language: Fulfulde (English Subtitles)

Tchistchaz and Daylon, young men of 27 years each and their friends made narcotic drugs. For them, consuming the plethora of excitement is a way to exist in a society where young people are looking for a landmark. Exploring several drugs to the point of developing circumvention strategies in the face of societal prohibitions, our young interlocutors let us enter their world to present their visions of the world to us.

Profile of Presenters

Mouadjamou Ahmadou
Mouadjamou Ahmadou is an ethnographic filmmaker, interested in the visual aspects of culture, social changes and adaptation.
He holds a PhD in Visual Anthropology at the University of Maroua in Northern Cameroon. His research interests include social and economic transformations among peasants and pastoralists.

Hamidou Hamidou
Hamidou is a PhD candidate at the University of Maroua in Cameroon.
He made ethnographic films in Northern Norway societies and in Northern Cameroon.
The new one is : The impossible life in the bush, Ladde salori.

Atouna Michel
Atouna Michel is a PhD candidate in Visual anthropology at the University of Maroua in Cameroon.
He made a film: Happier than a millionaire. The film won a student competition prize at the international film festival (International sahelian film festival).

Ladde salori, the impossible life in the bush
Ladde salori, the impossible life in the bush

Anthro-film Laboratory 43

“Maya Deren: A fore figure of an artist-anthropologist” (Zoom Meeting)

Date and Time: 2021 January 26th 15:30~17:00 (Japan time)

※Request for participation is required by January 24th to:
The zoom link will be sent to participants.
Note that the meeting will be recorded for future publication.

Speaker: Arjang Omrani (Temporal Lecturer, University of Münster)
Discussant: John Wells (Temporal Lecturer, Kanazawa University)

In her review of Maya Deren's legacy, Jeanette DeBouzek (1992) asks: "how can an avant-garde artist's sensibility be usefully applied to ethnographic work?" In following her path, this lecture-presentation explores Deren's theoretical and practical endeavors in relation with art (cinema), ethics and anthropology. These ideas and perspectives will be overviewed, especially, with considering her project in Haiti as the main focal point, This journey, conclusively tends to envisage a fore figure of an artist-anthropologist, through the existing affinities between Deren's ideas and works with the more contemporary and progressive approach to anthropology.l

About the Speaker:

Arjang Omrani, Filmmaker and Audio-visual Anthropologist, born in 1972 in Tehran.
Master Degree in Visual and Media Anthropology from Free University of Berlin.
Member of the research group of Culture & Education and PhD candidate at the University of Gent. Lecturer at the Visual Anthropology, Media and Documentary Practices Master course at the university of Muenster (Germany). Engaged with Audio-Visual, sensorial and performative modes of presentation in Anthropological studies and human life with major focus on Phenomenology and Embodiment, Migration and Transculturality. Produced several feature length and short films-videos that have been presented in different international film festivals, Academic programs and art exhibitions.
Actively presenting his theoretical and practical works in various international symposium and conferences.

Anthro-film Laboratory 42

The Image-making from Africa, Part 1 -Perspectives from Visual Anthropology- (Zoom Meeting)

Date: 2020 June 26th 17:00~19:00 (Japan time)

This event is co-organized by African Studies Center, Tokyo University of Foreign Studies.

※The number of participants will be limited to 30 people.
Please submit the online registration form by June 23rd.
We will send the zoom page, related films (vimeo with password) and website links for the meeting to participants beforehand.
Note that the meeting will be recorded for future publication.

Ethnographic film practices of various kinds from across the globe are entwined with new forms of audiovisual expressions and approaches. These practices detach visual anthropology from its Western colonial legacy and expand the horizon of knowledge creation, storytelling and collaborative research in humanities. The aim of this Zoom meeting of anthropologists/filmmakers from Cameroon, Ethiopia, Mali, and Japan is to introduce Ethnographic films and visual anthropological research activities in African countries. We identify prospects and meet the challenges facing the image-making from/on Africa.

The shooting of 'Emails to My Little Sister' Solomon A. Mekonen (2018) The shooting of 'Djeneba' Bata Diallo (2011)


Itsushi Kawase
National Museum of Ethnology, Japan

Ran Muratsu
African Studies Center, Tokyo University of Foreign Studies

Solomon Mekonen
Visual and Media Anthropology, Freie Universität Berlin/HMKW


Mouadjamou Ahmadou
The University of Maroua, Cameroon

Mitiku Gabrehiwot
Mekelle University, Ethiopia

Bata Diallo
The University of Bamako, Mali

Solomon Mekonen
Freie Universität Berlin/HMKW

Profiles of Speakers:

Mouadjamou Ahmadou
Mouadjamou Ahmadou is an ethnographic filmmaker, interested in the visual aspects of culture, social changes and adaptation.
He holds a PhD in Visual Anthropology at the University of Maroua in Northern Cameroon. His research interests include social and economic transformations among peasants and pastoralists.

Mitiku Gabrehiwot
Mitiku Gabrehiwot is an Associate Professor of the Department of Anthropology, Mekelle University in Ethiopia. He uses visual media to explore social change and cultural identity of the people in Tigray region. His current research projects include change and continuity and Political Anthropology.

Bata Diallo
Bata Diallo is a PhD candidate at the University of Bamako in Mali. She made a MA film "Djeneba, a Minyanka woman of Southern Mali" for Visual Cultural Studies, University of Tromsø.
The film is an hour-long chronicle of the quotidian life in rural Mali from a woman’s point of view. It focuses on Bata engages Djeneba's life-world in observational and participatory style based on the intimate conversation with protagonists.
Bata currently works on analysis of the political idea of Fily Dabo Sissoko (1900-1964), one of the founding fathers of modern Mali.

Solomon Mekonen
Solomon Mekonen is a Berlin-based filmmaker, interested in visual storytelling grounded in anthropology.
He holds a master’s degree in Visual and Media Anthropology from Freie Universität Berlin. His research interests include decolonisation, queer studies and imagining alternative futures.

The shooting of 'Emails to My Little Sister' Solomon A. Mekonen (2018) The shooting of 'Emails to My Little Sister' Solomon A. Mekonen (2018)

Anthro-film Laboratory 41

Film Screen and Discussion about "Distributed Multimodalities:
Ethnographic experiments in Memory and Performance" (Zoom Meeting)

Date: 2020 June 20th 10:00~12:00 am. in Japanese time

Request for participation is required by June 17th to
The Zoom link will be sent to participants.
The number of participants will be limited to 30 people.

Film Screen and Discussion about "Distributed Multimodalities: Ethnographic experiments in Memory and Performance" (Zoom Meeting)

This session aims at discussing about the theme "Distributed Multimodalities: Ethnographic experiments in Memory and Performance", which originally took place as a panel of the International Biennial Online Conference Distribute 2020, organized by the Society for Cultural Anthropology (SCA) and the Society for Visual Anthropology (SVA). The 40 min. panel consists of 5 min. segmented presentations made by 8 anthropologists or performers/artists. By discussing this panel, we would like not only to deepen the understanding of the topic, but also to envision the future of multimodal panel presentations and ethnographic collective works.


・Watch the Panel (40min. Link will be distributed before the session) "Distributed Multimodalities: Ethnographic experiments in Memory and Performance"

・Presentations by panel organizers and watch the film of Can Tamura "Okinami(沖波)”24min.

・Discussions about the Panel

Panel Abstract

This panel explores historical, social, and cultural memory as distributed phenomena in the context of performance. We envision performance taking several ethnographic modes (with the caveat that these modes are not an exhaustive list): the practice of ethnography as being inherently dramaturgical and performative (Denzin 2003); the ways in which our research participants may perform in the presence of a researcher; the embodied, performative use of multimodal tools, such as the taking of photos, the recording of video, and the sharing of digital media; performance as a way of disseminating ethnographic data, whether that be through photographs, films, dance, theatre, music, soundscapes, etc.; and performance as a theoretical stance—a hacking of the Aristotelian notion of “phronesis,” an applied, active wisdom that is set apart from analytical knowledge (episteme) and technical knowledge (techne) by taking seriously the social and the political (Flyvbjerg 2001).

This panel hopes to raise important questions such as: what kind of shifts in positionality may take place when one takes seriously the distribution of one’s ethnographic and personal performative practices, whatever they may be? How does performance become a means of distributing collective forms of memory? In what ways can multimodality be deployed within the discussion of performance, memory, and distribution?

Additionally, this panel is interested in how one’s ancillary performative practices (i.e. hobbies or external artistic endeavors) can generate new openings within one’s ethnographic research. We are attentive to the ways in which performance can break down contrived divisions between “serious scholarship” and creative pursuits; for example, if a phronetic approach to ethnography is deployed, how might it disrupt the established positivist, Western conception of what scholarship, learning, knowledge, dissemination, etc. can and should be (Genovese 2019)? In what ways might ethnographic phronesis (re)distribute research opportunities and their dissemination in a more egalitarian and decolonial fashion?

With this in mind, this panel hopes to produce an experimental audiovisual presentation in which each presenter’s research is not individually presented, but instead is woven among and between the other presentations—illuminating and generating previously unseen elements. This sensory approach—highlighting primarily the visual and the sonic—will evoke a contextual collaboration through juxtaposition and superimposition (for an example: see Tamura's film Je Suis Snowed In). The entire presentation will be descriptively hard captioned—as well as include audio descriptors— in order to make it as accessible as possible.

A Panel for Distribute A Panel for Distribute


Taylor R. Genovese (Arizona State University)
Profile :

Can Tamura (Filmmaker)
Profile :


Steven C. Fedorowicz, Kansai Gaidai University
"Neighborhood Autumn Festival in Japan: A Multimodal Visual Ethnography and Performance"
Steven C. Fedorowicz is a cultural anthropologist, visual anthropologist, and associate professor of anthropology in the Asian Studies Program at Kansai Gaidai University. His interests include deaf communities, sign language, performance, globalization and ethnographic photography. See more of his work at

Jonah S. Rubin, Knox College
"Beyond an Informational Approach to Memory Politics: Re-membering Personhood at Spanish Mass Grave Exhumations"

MURATSU Ran, Kyoto University
"Multimodal Spirits"

Ulara TAMURA, Kanazawa University
"From Backwardness to Pride: Yörük Cultural Revitalization through Performances in the Largest Nomadic Festival in Turkey”

FUKUDA Pero, Ritsumeikan University
"Sitting Gazing Gazed"

Pris Nasrat, Independent Scholar
Dragthropology: Queer and trans theoretical transformations through enraged comedy

Taylor R. Genovese, Arizona State University
"You're breaking my immersion!" Dispatches from a simulated war zone

Can Tamura, Filmmaker ·
"Kiriko Matsuri of Noto, Japan: The Outsider's Body as a Resource for Maintaining Local Rituals”

Okinami by John Wells (Can Tamura) Okinami by John Wells (Can Tamura)

Anthro-film Laboratory 40

Film-screening and Discussion on Films on Performance (Zoom Meeting)

Film 1. "Drags in da’ House" by Paula Bessa Braz, Mihai Andrei Leaha
Film 2. "IN-BETWEEN" by Yuka Takahashi
Film 3. "Chicken Blood" by Alberto Gerosa

Date & Time: June 1st, 9:00–12:00 (Japan Time), 2020

Request for participation is required by May 28th to:
The Zoom link will be sent to participants.
The number of participants will be limited to 20 people.

Paula Bessa Braz, Mihai Andrei Leaha (São Paulo) and Yuka Takahashi (Tokyo) will be showing the latest cut of their films "Drags in da’ House" and "IN-BETWEEN". They would appreciate feedback at this stage for further filming and editing. Alberto Gerosa (Hong Kong) will be showing his short film "Chicken Blood", a finished work but his ethnographic research on the subject of the film is still in progress. We will have a constructive discussion on filming performance from anthropological perspectives.

Joshua Rickard (Kumamoto University)
Itsushi Kawase (National Museum of Ethnology, Japan)

Film 1. 《work-in-progress/rough cut》
"Drags in da’ House" (20 min.)
by Paula Bessa Braz, Mihai Andrei Leaha

Three young Brazilian artists perform at a Drag Race competition at the famous independent electronic music party, Caps Lock form São Paulo. When the global pandemic provoked by Coronavirus forces most Brazilians into confinement, Divina Kaskaria, Satine and Gabeeh Brazil are left to perform their drags online, while coping with the challenges of everyday life with social distancing and home isolation.
Using collaborative ethnography employed through self-filmed video diaries as well as public online shows, the film offers an intimate glimpse into the lives of the three artists while focusing on the processes of producing a Drag Queen inside a home for an online environment. The film project is based on postdoctoral research about participation and embodiment of experiences in local DIY electronic music scene conducted at the University of São Paulo.

Film 2. 《work-in-progress/rough cut》
"IN-BETWEEN" (24 min.)
by Yuka Takahashi

Yuka, a Japanese girl who fall in love with Balinese dance makes her dream come true to become a dancer in Bali. As a Japanese Balinese dancer, she gradually gets to understand the important perspective of the Balinese that arts including dance are the medium which transport us to the world between the seen and the unseen.

Film 3.
"Chicken Blood" (8 min.)
by Alberto Gerosa

Chicken Blood (鸡血) is an ongoing ethnographic research, performance and film project, based on the Chicken Blood ritual, performed daily by millions of migrant workers across China to maximise labour productivity and company profit. The project aesthetically re-interprets this folk practice, elevating it as the most prominent Chinese contemporary performance style, and promoting its study as an interpretative paradigm of Chinese Performance art from the cultural revolution to the present day.

Profile of Presenters

Paula Bessa Braz
Paula Bessa Braz is an anthropologist and PhD student in Social Anthropology at Universidade de São Paulo (USP), in Brazil.
Dedicated to the study of musical cultures in urban settings, she integrates the research group “Local Musicking: new pathways to ethnomusicology”, coordinated by Suzel Reily, supported by FAPESP, Funding Agency of the State of São Paulo. She also integrates the group Pesquisa em Antropologia e Música, attatched to Laboratório de Imagem e Som em Antropologia (LISA).
For her Masters, Paula engaged on a research about the teaching and learning processes and identity building through musical discourse and the playing among children of a family in the outskirts of a violent city in Brazil. As a product of the research, in addition to the written ethnography, Paula also developed a filmic ethnography, where the aspects of the sensible and sensitive music making of the family are addressed with a sensorial take, revealing the atmosphere of intimacy, closeness and harshness that is built by their musicking and within their surroundings.

Mihai Andrei Leaha
Mihai Andrei Leaha, is a Romanian audio-visual researcher and filmmaker working in South-America. His films have been shown at various film festivals and winning prizes. As a board member of Commission on Visual Anthropology, IUAES, and other organizations, he is involved in curating, promoting and programming ethnographic films at various conferences and festivals. He taught visual anthropology in Cluj and São Paulo. He has also organized conferences and workshops on visual and multimodal anthropology in Romania, Brazil and Peru. He is currently a postdoctoral fellow at the University of São Paulo doing a research on the DIY electronic music scene in São Paulo.

Yuka Takahashi
Yuka Takahashi is a graduate student in intermedia art at Tokyo University oft he Arts, mainly making works such as dance performance and film based on the anthropological approach to Balinese dance. From 2017 to 2018 she stayed in Bali,the Republic of Indonesia to learn Balinese traditional dance and was active as a professional dancer in the village of Peliatan. Back in Japan, her research and works are about the cross-cultural spirituality of dance. In addition to the anthropological research on Balinese culture and her performance of Balinese traditional dance, she also works on some dance performances to poem and music. Though still the concept of her creations is a living hieroglyph, the word that Antonin Artaud mentioned Balinese dance

Alberto Gerosa
Alberto Gerosa is an Italian anthropologist and filmmaker who first moved to China in 2007. His work has been acquired among others by Cineteca di Bologna, Hong Kong Film Archive, Tai Kwun Centre for Heritage and Arts, Hong Kong History Museum, and awarded at film festivals and academic conferences worldwide, including Vienna Biennale 2007; Visions du Rèel, Moscow Ethnocinema, Diaoyu Fortress International New Media Art Festival, University of California Berkeley, École des Hautes Études en Sciences Sociales, Paris, Manchester University, Oxford University, University College London, Free University of Brussels, European Association of Social Anthropologists.
Alberto has taught visual anthropology and cinema at Antwerp University, the Chinese University of Hong Kong, Hong Kong Baptist University United International College, Fondation Jean Rouch, International Organisation for Migrants, UN.
Since 2015 he is a visiting scholar at the Image Anthropology LAB in Tokyo University, where he is researching with Tadashi Yanai.

Drags in da’ House Drags in da’ House

Anthro-film Laboratory 39


日時:2019年12月20日 (金)17:30開始 (17:00 開場)
会場: 東京藝術大学音楽学部5号館4階 5-401教室
〒110-8714 東京都台東区上野公園12-8


管 啓次郎(明治大学大学院理工学研究科)
川瀬 慈(国立民族学博物館・総合研究大学院大学)






Kanarta Kanarta

Akimi Ota photo by Tatsuki Shirai



Anthro-film Laboratory 38

鼎談 『人類学者として芸術にたずさわる』

日時:2019年12月14日 (土)
会場: 出町座 フリースペース
〒602-0823 京都市上京区三芳町133


川瀬慈 (国立民族学博物館/総合研究大学院大学)





芸術人類学と博物館学を専門にする社会文化人類学者。カナダのブリティッシュ・コロンビア大学(UBC)人類学博物館(MOA)キュレーター、およびUBCアジア研究学科・人類学学科所属研究者。1992年に渡英。サセックス大学卒業後、オックスフォード大学から修士号、博士号を取得。学位の間に東京で企業勤務、NHKで映画関係の仕事に携わる。オーストラリア国立大学、東京大学、アルゼンチン国立東洋美術館での勤務を経て2014年より現職。多摩美術大学芸術人類学研究所特別研究員(2010〜2015年)。著書には『Asia through Art and Anthropology: Cultural Translation across Borders』(2013年出版、オーストラリア・ニュージーランド芸術学会賞受賞)など。フィールドワークを京都、アルゼンチン、ブラジルで行い、東日本大震災後に長期ボランティアをしたことをきっかけに最近は東北で調査を行なっている。




中村冬日「Traces of Words」展にて。撮影:清水優子 中村冬日「Traces of Words」展にて。撮影:清水優子

Anthro-film Laboratory 37


会場: 国立民族学博物館4階映像実験室
〒565-8511 大阪市吹田市千里万博公園10-1

Guli Armug’on: Women’s local Islamic ritual in Uzbekistan



現時点での作品の長さ: 約16分

監修/監督:Iqboljon Meliqo‘ziev / Adhamjon Ashirov / Seika Wazaki
撮影:Iqboljon Meliqo‘ziev / Shohrux Mirzo Inomjonov
編集:Muhammad Bobur Mavlonov / Seika Wazaki
撮影地:Ferghana, Uzbekistan
言語:Uzbek, Tajik (English subtitle)

協力 : Japan Society for the Promotion of Science Grant-in-Aid for Young Scientists / The Institute of History, The Acacemy of Science of Uzbekistan republic / Uzbekistan State Institute of Arts and Culture

Guli Armug’on: Women’s local Islamic ritual in Uzbekistan Guli Armug’on: Women’s local Islamic ritual in Uzbekistan


発表者:村津蘭(京都大学大学院 アジア・アフリカ地域研究研究科)


現時点での作品の長さ: 約25分


妖術師の声 妖術師の声




現時点での作品の長さ: 約120分(部分的に抜粋して上映)


アシェンダ アシェンダ

Anthro-film Laboratory 36

鼎談 『芸術と人類学の交差点で書き、創り、教えるとき』

日時:2019年7月9日 (火)17:30–
会場: 京都市立芸術大学芸術資源研究センター


池内須摩(シカゴ美術館附属美術大学 )
川瀬慈 (国立民族学博物館/総合研究大学院大学)





文化人類学者。兵庫県出身。北海道大学卒業後に渡米、米国のエモリー大学人類学部より博士号を取得。シカゴ美術館附属美術大学(School of the Art Institute of Chicago)教養学部助教。
著書には日本における日系ブラジル人還流移民と南米宗教の伸長についてのエスノグラフィー『Jesus Loves Japan: Return Migration and Global Pentecostalism in a Brazilian Diaspora』(スタンフォード大学出版)があり、映像作品では全米人類学会の映像人類学分科会映画祭で発表した『In Leila’s Room』がある。日本の移民や宗教について研究しつつ、アメリカの美大の学生に人類学・宗教学・移民学を教えており、芸術と人類学の交差点について模索中。




Shot In Leila's Room by Suma Ikeuchi "Shot In Leila's Room" by Suma Ikeuchi

Anthro-film Laboratory 35

The Joint Seminar with University of East Anglia (UEA)

Date & Time: June 6th, 14:30–16:00, 2019
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is not required

日時:2019年6月6日(木)14:30–16:00, 2019
会場: 国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1


1. Rethinking Feminism: Representation of Women in Post-Revolutionary Iranian Cinema
 Ms Zahra Khosroshahi (PhD candidate, UEA)

2. Family and Gender in Contemporary Japanese Cinema: Confronting Anxiety in the Films of Koreeda Hirokazu, Mr Duncan Breeze (PhD candidate, UEA)

3. The Two Studios Ghibli: Differential Branding of Studio Ghibli Inside and Outside Japan
 Dr Rayna Denison (Senior Lecturer in Film and Television Studies)

4. Humanities Goes to Japan
 Dr Eylem Atakav (Associate Dean International, Faculty of Art, Media and American Studies)

5. From Norwich to Japan: East Anglian Film Archive films from Japan
 Ms Noriko Morisue (PhD candidate Yale University)

※There will also be the screening of short video clips that introduce PhD students from the Faculty of Arts and Humanities, UEA.

Discussants from Anthro-film Lab:
Hirohisa Fukuda/ fukudapero
Itsushi Kawase
Yushi Yanohara

Anthro-film Laboratory 34

『Go Ask The System Why(システムに尋ねろ)』

ミュージックビデオ:『Go Ask The System Why(システムに尋ねろ)』


会場:立命館大学 平井嘉一朗記念図書館
〒603-8577 京都府京都市北区等持院北町56−1
※参加希望者は前日までに福田 isthisapen7@gmail.comまでご連絡、予約ください



当国ではマイノリティーである英語話者のラッパーたちとつくる楽曲も、いつになくシリアスなコンシャス・ラップとなった。そのうちの1つ、「Go Ask The System Why(システムに尋ねろ)」において彼らは、1982年以来続くポール・ビヤ政権を直接批判することはなく、カメルーンを取り巻く各国や各機関を含めた「(国際)社会システム全体に問題がある」と現状を分析した。


また、ディスカッサントに柳沢英輔(同志社大学助教/音文化研究者)とふくだぺろ/福田浩久(立命館大学博士課程/Anthro-film Lab/詩人)を招き、二人のセレクションによる関連映像を併映し、音と映像の関係についての議論を深めたい。


矢野原 佑史 (やのはら ゆうし)


Go Ask The System Why

Anthro-film Laboratory 33

Growing Up Married - Film Screening and Discussion with Eylem Atakav

Date & Time: December 13, 14:00–, 2018
Venue: National Museum of Ethnology, 4th Floor, Eizo Jikken Shitsu (Visual Experiment Laboratory),
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is required:

会場: 国立民族学博物館4階 映像実験室(参加希望者が多数の場合、会場を別室へ変更します。)
〒565-8511 大阪市吹田市千里万博公園10-1

Growing Up Married
(Eylem Atakav, 27 min, 2016)

Growing Up Married is a documentary which focuses on the stories of child brides recollecting their memories as adults. It explores what happens after child marriage by focusing on the stories of four women, and making their experiences visible, while contributing to debates around this significant, complex and emotionally charged human rights issue which has often been discursively silenced.

Details: Year of production: 2016 Director: Eylem Atakav Producer: Eylem Atakav Assistant Director: Burcu Dabak Editors: Lucy Rivers and Roger Hewins Edit supervisor: Hannah Merridale Dubbing Mixer: Matt North Post-production supervisor: Sean Thompson Production assistant: Umut Yukaru.
Facebook: A Documentary Film on Child Marriages: Growing Up Married

About the filmmaker
Dr Eylem Atakav is Senior Lecturer in Film and Television Studies at the University of East Anglia where she teaches courses on women and film; women, Islam and media; and Middle Eastern media. She is the author of Women and Turkish Cinema: Gender Politics, Cultural Identity and Representation (2012) and editor of Directory of World Cinema: Turkey (Intellect, 2013). Growing Up Married is her first exposure to filmmaking. She is currently co-leading an Arts and Humanities Research Council-funded project entitles British [Muslim] Values.

Anthro-film Laboratory 32

Film Screening and Discussion with Maria Salaru and Sungeun Kim

Date & Time: December 8, 13:30–, 2018
Venue: National Museum of Ethnology, 4th Floor, Eizo Jikken Shitsu (Visual Experiment Laboratory),
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is required:

会場: 国立民族学博物館4階 映像実験室(参加希望者が多数の場合、会場を別室へ変更します。)
〒565-8511 大阪市吹田市千里万博公園10-1

Blocul - An Ethnography of a Romanian Block of Flats

(2016, 61min, Director: Maria Salaru)

Presenter: Maria Salaru

Blocul(poster) From neighbourly disputes over garlic-heavy cooking to memories of Ceaușescu’s heatless winters, this film explores the rich social and material universe of a Romanian apartment building. It follows the story of the block’s administrator, in his effort to mediate relationships between neighbours and maintain peace and order. In doing so, it crayons the rich nuances of the inhabitants’ everyday lives. The block comes to life, as its inhabitants constantly reshape it to defy the passing of time, while its failing infrastructure encroaches on their neighbourly relations. This is a film about people’s homes, and the spaces in between. In those spaces, the pipes don’t only carry hot water – they carry meanings from one inhabitant to the next.

Maria Salaru
Dr Salaru is a visual anthropologist whose research is situated at the intersection between anthropology and architecture. She has conducted a year-long research project using innovative visual methods (photography and film) inside an urban block of flats in Romania. She also produced an observational documentary about the inhabitants of this buildings called Blocul, which was screened at film festivals internationally and received the Best Documentary award in 2016 at Ficarq, the Architecture and Film Festival in Spain. She is currently working on an Erasmus+ Project about urban infrastructure at Durham University, which brings together universities and non- academic partners from the sustainable living and energy sector, based in Slovenia, Czech Republic, the UK and the Netherlands.

Blocul Blocul

The Island of Yasammen
(working title)
(Director: Sungeun Kim)

Presenter: Sungeun Kim

Yasammen is one of 527 Yemenis who applies for an asylum status in South Korea in the summer 2018. She would spend next 6 months in Jeju, the touristic southern Island and the only part of the country where a Yemeni can enter without a visa. The arrival of her people would trigger a public uproar sparked by Islamophobia and racism, which leads up to a national debate whether to abolish an existing refugee law. In October, Yasammen like most of others acquires humanitarian visas; not a single case of asylum status is admitted. In fact, since South Korea enacted the refugee legislation as the Asia’s first in 2013, only 4 percent of the asylum seekers have been accepted. With this one-year-long humanitarian visa Yasammen leaves Jeju for the mainland.

The film will recompose Yasammen’s time spent in Jeju Island after her departure. The everyday footage in the island filmed by herself will be juxtaposed in the narrative construction of her memories performed by the multiple female islanders that have acquainted her through regular gatherings among Yemeni and Jeju women. Two activists who organized those gatherings and worked as her translators will be the main performers and storytellers in the film. Yasammen’s physical presence as well as absence will be highlighted in the context of female body that, she once reflected, seems only tangible through oppression. I wish to make a film documenting her feminist struggle never to seize reclaiming her body despite of the systematically enforced state of ‘fugue’ and the stigma of the genderless body on the run.

Sungeun Kim
Sungeun Kim is a filmmaker and visual anthropologist based in Berlin and Jeju Island (S.Korea). Her main research focuses on the media activism and civil dissent resisting against militarism, neo-colonialistic practices and the internal marginalization in the context of the islands in East China Sea. She studied Fine Arts at New York University and Experimental Film at University of Arts, Berlin. In 2015 she has graduated Free University in Berlin with MA in Visual and Media Anthropology.

Current Affiliation
Freenlancer Editor and Assistant Director for various art film projects in Berlin
Archivist at Studio Haegue Yang Berlin

The Memory of the 25th Hour (2017), 78 min
The Will (2018), 20 min

Selected Screenings
Ji.hlava International Documentary Film Festival 2018
Document Film Festival Glasgow 2017
Festival International du Film Insulaire de Groix 2017
Seoul Independent Documentary Film Festival 2017

Blocul The Island of Yasammen

Anthro-film Laboratory 31

The Joint Seminar with Commission on Visual Anthropology, IUAES

Date & Time: November 20, 14:00–, 2018
Venue: National Museum of Ethnology, 2nd Floor, Seminar room 7
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is not required

会場: 国立民族学博物館2階 第7セミナー室
〒565-8511 大阪市吹田市千里万博公園10-1

IUAES映像人類学理事会(Commission on Visual Anthropology, The International Union of Anthropological and Ethnological Sciences )とAnthro-film Lab共催による研究会を開催します。


Oral Presentation & Discussion/14:00–

1. "Visual Anthropology and Critical Heritage"
Rossella Ragazzi (Tromsø Museum)
2. "Life-World as Object of Visual Anthropology"
Bao Jiang (Institute of Sociology, Chinese Academy of Social Sciences)
3. "Multimodal research and electronic music in São Paulo"
Mihai Andrei Leaha (University of São Paulo)
Discussion Moderators:
Inge Daniels (University of Oxford)
Hirohisa Fukuda/ fukudapero (Ritsumeikan University)

Film Screening16:30–

"Nunta pe dos/ Mockup Wedding" (2017, 41min)
by Mihai Andrei Leaha

Every year in Bănia village (Western Romania) takes place the spring carnival named Nunta Cornilor (Horns Wedding). The custom follows the structure of a traditional wedding but does so differently: all participants are men, some dressed up as women; the second day, they wear masks and the wedding gifts are messages that mock the evens that happen throughout the year in the village. The film represents the effort of the visual ethnographer that strives to show the custom in a visual manner that is specific to the local ways of looking at wedding videos. Therefore, the editing is done together with an amateur videographer that adds special effects specific to wedding videos. The result is a Mockup Wedding as seen by those who perform it.

Comission on Visual Anthropology, IUAES

2018年6月から7月においてAnthro-film Labはギャラリー@KCUAにおいて、

Anthro-film Laboratory 30

『雲南からのイメージの創造 —映像人類学研究を事例に—』

Anthro-film Laboratory 29

Anthropology on film
Films made by Frode Storaas and Knut Christian Myhre

Presenter: Hans Frode Storaas
(Professor, Department of Cultural History, University Museum of Bergen)

Date & Time: March 2, 17:00–, 2018
Venue: National Museum of Ethnology,
4th Floor, Eizo Jikken Shitsu (Visual Experiment Laboratory),
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is required by Feb 28th

会場: 国立民族学博物館4階 映像実験室
〒565-8511 大阪市吹田市千里万博公園10-1


Based on the long term fieldwork by the anthropologist Knut Christian Myhre, in the Kilimanjaro region in Tanzania, Frode Storaas has just finished two films that will be screened and discussed. The films demonstrate two different ways to communicate anthropological knowledge. "Cooling and Cleansing – in Kilimanjaro" (25 min.) is what could be called a "documentation film". The film is a visual documentation of a ceremony. A young man died, obviously a suicide. On the third day after the burial, a ceremony is conducted to cool or cleanse the Homestead - ihora kaa. This is performed whenever a death occurs, but it requires particular care in the case of a suicide. The film follows the ceremony step by step and demonstrates how the camera can be used for data gathering.
The second film, "Atali's Gift" (43 min.), is not primarily data gathering, but a representation in order to communicate an anthropological understanding of a given cultural and social reality. The story is about Atali who has recently moved back to his homestead in Rombo District on the eastern slopes of Mount Kilimanjaro in northern Tanzania. For nearly twenty years, he has pursued university studies and engaged in various business ventures, but these have brought him few material rewards. Atali is determined to turn his life around and is convinced he needs to settle some longstanding matters pertaining to his long-deceased father and father’s father. His path to a better future goes through the past and requires an intervention in the present. A visit from the anthropologist Knut Christian Myhre, who has long lived in Atali’s house while conducting research in the area, provides Atali with the impetus to proceed with his plans. He wants a new name and connection to a different Homestead, and for this a ceremony is required. But will his elderly mother agree to this? This is a film about anthropological topics, such as adaptation, kinship, religion and ritual life. It is also a film about anthropological fieldwork - tuning in, hanging out and hanging on - participating and observing.
This film shows how documentation is combined with a narrative and the aesthetic conventions of cinema.

Anthro-film Laboratory 28

座談会:デジタルメディア時代の人類学 —映像で他者を想像する—

日時:2018年1月25日 18:00–20:00
会場:@KCUA ギャラリーC、入場料無料
〒604-0052 京都府京都市中京区 油小路通御池上る押油小路町238−1
主催:京都市立芸術大学、Anthro-film Laboratory
助成:平成29年度 文化庁「大学を活用した文化芸術推進事業」




1982年生まれ。東京大学日本文学学士。様々な職業を経る。マンチェスター大学Visual Anthropology修士。修士プロジェクトはルワンダ国王に取材した『神話的現実とイメージからみるルワンダ王権』。フィールドから発した詩・小説・インスタレーション・映像など、異なるメディアにまたがった作品を発表しながら、妻と娘と暮らす。代表作に『ふぃっしゅのーちい』『parallel architecture』等。マンチェスター国際映画祭実験映画賞等受賞。



Anthro-film Laboratory 27


Leuphana University of Lüneburg, Institute of Philosophy and Sciences of Art

日時:2017年12月19日(火) 16:00-
〒565-8511 大阪府吹田市千里万博公園10-1


2013年よりオーストリアのチロル州の一農家でボランティアヘルパーとして移牧農業の参与観察を行い、二本の民族誌映画を作成した。一作目の「Alpine Rings Linger」では、夏季の放牧地(アルム)の農作業において、天気、地形または植生といった自然条件の下で実践される経験的知識の視覚化を試みた。二作目の「Not for Eternity」は、2016年に同農家で行われた築140年の牛舎の建替えに至るまでの一年間の農家の生活を断片的に描いた。



現在ドイツのリューネブルク大学の研究プログラム PriMus – PhD in museums のリサーチ・アソシエートとしてハンブルクの民族学博物館にて、館所蔵のスウェーデンコレクションの調査およびダーラナ地方の物質文化についての研究を行っている。


2013 “Quer durch den Stadtgarten (Through the City Garden) ”
2014 “Almklang hallt nach (Alpine Rings Linger)”
2017 “Nicht für die Ewigkeit (Not for Eternity)”

Anthro-film Laboratory 26



日時:2017年12月18日(月) 16:00-
〒565-8511 大阪府吹田市千里万博公園10-1







下道 基行 したみちもとゆき

Anthro-film Laboratory 25


映画『音の紋様アッサンブラージュ―徳宏タイの織り/Sound Assemblage of Tai Weaving』(仮題)



〒565-8511 大阪府吹田市千里万博公園10-1
日時:2017年11月30日(木) 16:30-


本作品は2015年から始めた織りのパフォーマンスにおいて上映するために仮編集した作品をもとに、現在私にとって3作目の民族誌映画として再編集している。テーマは、織り(やモノづくり)の作業のなかで響く音をつくっている「成分」は何なのか? タイ族の紋織物は、後染めされた藍色がさめるにつれ、織りこまれた紋様が徐々に際立つ。私は日々の暮らしのなかで変わりゆく布の風合いが好きで、とあるきっかけからフィールドワーク中に女性の機織りを習った。ワン母さんは、「嫁入り前の姉の機織りは子守唄のような音を鳴らしていた」と思い出を語った。複雑な紋様はすでに誰も織らなくなっていたが、私の要望に村の女たちは半世紀前の記憶をたどって伝統の技を嬉々として再現してくれた。織りを学びながら、私は彼女たちの織りの音の美学に気づかされたのだった。
かつて村の娘は、将来の夫と子供のために、嫁入り前にたくさんの布を織り貯めなければならなかった。結婚後は老後まで織りを止めた。彼女たちの布は、家事や農作業、思い人との逢瀬の合間をぬい、長い時間をかけて織りあげられるのだった。彼女たちは布を織る機に豊かな音を鳴らす工夫を凝らしていた。織りする身体は、杼や筬、綜絖、そして錘の木材など、機の様々な部分と協働し、リズミカルに運動する。女たちの織りの運動は、様々な感情、感覚的な記憶や思いをエネルギーにして生じ、反復し、そこに「音のアッサンブラージュ」を現す。音と共に生まれた布は、私たちをとりまく雰囲気のように、いつも感性的な残響をただよわせている。 撮影を試みるなか、織りが日常から消えた今では、昔ながらの感性を映像でいかに表現すればよいのか糸口を見つけられずにいた。私が彼女たちの言葉として聞きたかったことは、いつもフィールドの日々の暮らしのなかでふとしたときに紡がれてきた。逆に、彼女たちにとって布や織りは言葉にせずともすでに雄弁に語っている(感じさせている)。そして、織りや布と共に生きてきた彼女たちの心や身体のなかで残響はまだ消えていない。できればそんな言葉にならない時間のなかに織られてきた感性を映像で表現したい。

参考:伊藤悟2014「織機から響く生活の音 ― 撮影と身体実践の往還が引き起こした感性への気づき」『カルチュラル・スタディーズ年報』2、pp.181-190


伊藤 悟 (日本学術振興会特別研究員/京都文教大学所属)


2011年『Creation and Chanting of Lik Yaat』(邦題:こころを架けることば)
2014年『Sensing the Journey of the Dead』(邦題:死者を送るうた)

Anthro-film Laboratory 24

- Film screening and Discussion with Jana Eiting -

Presenter : Jana Eiting

Date & Time: Oct 31st, 17:00–, 2017
Venue: National Museum of Ethnology, 4th Floor, Eizo Jikken Shitsu (Visual Experiment Laboratory),
Senri Expo-Park 10-1, Suita, Osaka 565-8511 Japan
reservation is required by Oct 29th

会場: 国立民族学博物館4階 映像実験室
〒565-8511 大阪市吹田市千里万博公園10-1


Deutschlandfiction (2017)

The film was made in collaboration with Muhammed and Prince, two young men from The Gambia who are currently looking for asylum in Germany. They wanted to share their experiences and inner knowledge about being a refugee in Germany. The film shows two appointments at the immigration office and how the treatment of the officers affect their daily life and mental state.

Deutschlandfiction is an ethnofictional film and was part of my master’s thesis. The method or ethnographic film genre ethnofiction is mostly known by Jean Rouch’s films from the 50s and 60s (Jaguar and Moi, un Noir) and later by Johannes Sjöberg who developed principles for the method and created his own ethnofiction called Transfiction. The method implies many approaches of the discipline of visual anthropology that seem to promise a contemporary and ethical research. Some of the approaches are reflection, participation, a collaborative spirit, blurring the borders of disciplines like art and ethnography and playing with the old dualisms like fact and fiction as well as objectivity and subjectivity. Since I don’t see a method as something rigid and enclosed, I tried to explore and experiment with the ethnofiction in Deutschlandfiction a bit further. I worked in a full collaboration for instance, i.e. no hierarchy, all decisions were made together by the team, everyone was allowed to film and to act in front of the camera. I also accompanied the making of the film with taking detailed notes and doing interviews with Muhammed and Prince in order to reflect on the method and the making of the film, always looking out for new and surprising elements. In the written part of my master’s thesis Figuring out Ethnofiction I described and reflected on each step of the filming to get a broader understanding of the practical implementations of ethnofiction.


Conteh, Muhammed/Eiting, Jana/Kani, Prince (2017): 17 Min. Shoot: 2016. Germany: University of Bremen.

Rouch, Jean (1969/70): Jaguar. 88 Min. Shoot: 1954-55. France: Les Films de la Pléiade.

Rouch, Jean (1960): Moi, un Noir. 73 Min. Shoot: 1957. France: Les Films de la Pléiade.

Sjöberg, Johannes (2007): Transfiction. 57 Min. Sweden/UK: and Manchester University.


Jana Eiting is a freelance artist for the Canadian-German performing arts company Mammalian Diving Reflex. She has co-coordinated, co-directed, and co-produced a number of projects, particularly in Germany but also in Switzerland and Austria. She did her Bachelor degree in cultural and religious studies and her masters degree in transcultural studies at the Universität of Bremen. In her masters program Jana focused on the topics refuge and asylum as well as visual anthropology. Deutschlandfiction (2017) was part of her masters thesis and is her first ethnographic film. In 2017 she also made a film about Cosplay with the app "Snapchat" in collaboration with the German youth wring of Mammalian Diving Reflex.

■Mammalian Diving Reflex

Based in Germany and Canada, Mammalian Diving Reflex views innovative artistic interventions as a way to trigger generosity and equity across the universe. Founded in 1993, Mammalian is a research-art atelier dedicated to investigating the social sphere, always on the lookout for contradictions to whip into aesthetically scintillating experiences. We are a culture production workshop that creates site and social-specific performance events, theatre-based productions, gallery-based participatory installations, video products, art objects and theoretical texts.
Mammalian’s body of work is interconnected, varied and vibrant, reflecting our unique and growing body of knowledge and expertise on the use and function of culture. We create work that recognizes the social responsibility of art, fostering a dialogue between audience members, between the audience and the material, and between the performers and the audience. In all it’s forms, the company’s work dismantles barriers between individuals of all ages, cultural, economic and social backgrounds; we collaborate with non-artists, and offer both participatory opportunities for the audience as well as the traditional option of simply watching the proceedings as they unfold. It is our mission to bring people together in new and unusual ways, in Toronto, Canada, our home-base, and around the world, to create work that is engaging, challenging, and gets people talking, thinking and feeling.

For more info:

At the Kyoto Experiment 2017 we are doing the Project The Children’s Choice Awards. It is an intervention into the structure and institution of an arts festival, where a group of between 20 to 80 ten-year-olds from local public schools are appointed the official festival Jury, are chauffeured to and from festival shows to see the art, take notes, and size it all up. The judges respond to criteria that they have created from their vast expertise, and collectively they determine up to 50 award categories and vote on the winners. The project culminates in an Awards Ceremony where the kids present hand-made trophies to the winners, all decided by them, and described in their own words. Check-out the action and the award winners on the project blog:

Anthro-film Laboratory 23

映画『Fieldnotes フィールドノート』 撮影/編集:矢野原佑史

制作過程の映画のブラッシュアップを目的とするセミナーを、以下の通り、みんぱくで開催いたします。今回は国立民族学博物館外来研究員の矢野原佑史が、現在制作中のドキュメンタリー映画『Fieldnotes フィールドノート』について発表・解説し、参加者と意見交換する会にいたします。どなたでも参加いただけます。会の詳細は以下を確認ください。

〒565-8511 大阪府吹田市千里万博公園10-1
日時:2017年7月18日(火) 16:00-

『Fieldnotes フィールドノート』について



© Anthro-film Laboratory

Anthro-film Laboratory 22

『オキナワへいこう』(仮題) 大西暢夫監督


〒565-8511 大阪府吹田市千里万博公園10-1
日時:2017年7月6日(木) 16:00-

ドキュメンタリー映画 『オキナワへいこう』概要






  第8回日本絵本賞/日本図書館協議会 選定図書
  日本図書館協議会 選定図書
10『ぶた にく』(幻冬舎)
  第58回小学館児童出版文化賞/第59回産経児童出版文化賞 大賞
14『3.11の証言 心に留める東日本大震災』(岐阜新聞連載記事・自費出版)
15『津波の夜に 3.11の記憶』(小学館)
    日本図書館協議会 選定図書
  2016年 小学校高学年の課題図書

●ドキュメンタリー映画『水になった村』 2007年製作
 (配給:ポレポレタイムス社 第16回地球環境映像祭最優秀賞)
●ドキュメンタリー映画『家族の軌跡 3.11の記憶から』2015年製作
 (山形国際ドキュメンタリー映画祭 上映作品)

Anthro-film Laboratory 20

Filming The Everyday:
Poetics of Observation and Sense of Place in Artist, Experimental and Ethnographic Cinema.

Speaker : Becca Voelcker

Date & Time: June 27th, 16:00–, 2016
Venue: National Museum of Ethnology, 4th Floor, Eizo Jikken Shitsu
(Visual Experiment Laboratory), Senri Expo-Park 10-1, Suita, Osaka
565-8511 Japan
reservation is required by 2 days before the seminar

会場: 国立民族学博物館4階 映像実験室
〒565-8511 大阪市吹田市千里万博公園10-1


Watching a film can be like traveling to another place. We smell and feel the film’s sights and sounds, learning about other cultures and perspectives. Unbound from conventional plot or narrative, experimental non-fiction film enjoys freedom in conveying everyday life and sense of place. It can be made by anthropologists, artists, poets, and by you or me— as well as by trained filmmakers. Given the current global context of economic, political and environmental migration, places and identities are changing every day. Shifting patterns of landscape, language, labour and memory mean that attending to issues of place (and displacement) is vital for preserving peace, promoting intercultural understanding, and protecting the environment. This talk looks at ways I have engaged with filmmaking and sense of place through scholarly, artistic and curatorial approaches. It asks what exactly might be meant by ‘sense of place,’ and why should it be held in such high regard in art, anthropology and film studies. Drawing from examples from around the world, including films made at Harvard’s Sensory Ethnography Lab, this talk will attempt to identify some common threads that weave diverse filmmaking practices together. It will also draw from Japanese examples and discuss a curatorial project I am currently developing about Japanese nonfiction film and sense of place. The talk will be in English but please feel free to comment and ask questions in Japanese.


Becca Voelcker (b. 1990) is a PhD student and Presidential Scholar at Harvard University. Her research explores how moving images made between artistic and ethnographic practices can communicate senses of place and displacement. Becca grew up bilingually in rural Wales, UK. Before beginning at Harvard, she studied art at Goldsmiths, University of London, and film theory at The University of Cambridge. From 2013-15 she was based in Tokyo, Japan, as a Daiwa Scholar. Although focused on writing and curating, she also has a background in art practice. She has exhibited internationally, and writes for contemporary art journals including Frieze. Website

Still from Island (2015) (Becca Voelcker’s film Island, 2015 (28’) traces the rhythms and routines of everyday life on Ishigaki Island, Japan. It premiered in the 2016 Whitstable Biennale, UK)

Anthro-film Laboratory 19【this event is canceled】

Experimental Visual Anthropology: Exploring Colour, the Image and the Other
- Film Screening and Discussion with An van. Dienderen -

Date & Time: April 5th, 14:00–, 2016
Venue: National Museum of Ethnology, 4th Floor, Eizo Jikken Shitsu
(Visual Experiment Laboratory), Senri Expo-Park 10-1, Suita, Osaka
565-8511 Japan
reservation is required

会場: 国立民族学博物館4階 映像実験室
〒565-8511 大阪市吹田市千里万博公園10-1


1. “LILI”, 2015, 10’

Nominated best short film award BFI festival London, selected for Experimenta at BFI London, IFFRotterdam 2016, commissioned by Contour 7 Biennale of the Moving Image

In a TV studio a girl named Lili is asked to serve as a so-called China Girl. China Girls, used in cinema history since the 1920’s, are women with Caucasian skin who are filmed alongside a colour-chart in order to adjust the colours of the film. They have no dialogues to memorize or characters to impersonate. All they have to do, is have an impeccable white complexion. Their skin – white as porcelain – is used as a reference for the colour grading of camera and printing, ultimately excluding people of colour who do not conform to this implicit norm. Lili tells the story of one of these China Girls through archival material, found footage and documentary recordings, and questions the tradition of China Girls contextualized in a society, which, according to anthropologist Michael Taussig exemplifies chromophobic uneasiness with color.

2. “Letter Home”, 2015, 10'

Letter Home is a film letter - without the use of narration - in which the touristic images of the artist's trip to Japan are digitally distorted. The basic strategy of this type of digital corruption is copying, which is used in the film to challenge the western perception of Japan as a ‘copying culture’. The sound, by contrast, is not corrupted, thus it helps in structuring the abstract and chaotic images and invites the viewer to project his or her own memories and sensations on it. Letter Home combines aspirations of both the touristic image hunter and the media-archeologist so as to give full expansion to the sensations produced by the digitally distorted and materialistically manipulated images and realistic sounds. Letter Home is made as a diptych with "Cherry Blossoms", which was awarded and presented at such festivals as Fid Marseille, IFFR, Oberhausen, Festival des Femmes Le Créteil, etc.

3. “Cherry Blossoms” 2012, 10'

Screened at Fid Marseille, Oberhausen, Le Créteil, FIDOCS Chili, DMZ Korean international documentary Festival, Leiden Internat film festival, Kasseler DocFest
Special Prize of the Jury at the International Short Film Competition "Monsieur Guillaume" at FIDOCS Chile 2013:

Carly is working late at night in one of the many translation booths in a dark plenary hall of the European Parliament. It is the only place worldwide where everyday work is translated in 23 languages. Carly exerts to translate a documentary about Japanese subculture. Without specific interest for the theme she translates monotonically from the Japanese. Although she initially automatically translates, she is more and more attracted by the punk girls.

■About An van. Dienderen

Filmmaker An van. Dienderen works at the intersection between documentary, anthropology and visual arts. While exploring various documentary strategies and the anthropological relation between self and other, she also investigates the medium of film in a self-reflective way. She investigates the opposition of fact and fiction, imagination and observation, representation and experience, using the importance of the image in our multicultural society as a point of departure. Her work shows the absurd, poetic, and often touching stories that these oppositions can hold in everyday life. (Source Contour7)

She graduated in audiovisual arts (Sint-Lukas, Brussels), obtained a PhD in Comparative Cultural Sciences (Ghent University), and was a visiting scholar at UC Berkeley. She made several documentaries screened worldwide, awarded with (inter)national prizes. Films include Visitors of the Night (’98), Site (’00), Tu ne verras pas Verapaz (’02), The Ephemerist (’05) Patrasche, a Dog of Flanders – Made in Japan (’08), Cherry Blossoms (’12), Letter Home (’15) and Lili (’15). She regularly publishes on visual/performative anthropology, is a lecturer and artistic researcher at the School of Arts Ghent, and initiated the international art workspace SoundImageCulture and productioncompany Elektrischer schnellseher. Her work has been shown on the Margaret Mead Film and Video festival (New York), FID Marseille, DocFest Sheffield, Belluard Festival (Fribourg), DMZ Korea International documentary festival, International Short film Festival Oberhausen, FIDOCS, Festival Internacional de Documentales de Santiago, International Filmfestival Rotterdam, etc and is represented by argos.

More info:

Anthro-film Laboratory 18




会場: 国立民族学博物館4階 映像実験室
〒565-8511 大阪市吹田市千里万博公園10-1



発表者:和崎聖日(中部大学全学共通教育部 全学総合教育科講師)



2015「旧ソ連・中央アジアのウラマー一族と『英知集』」『歴史評論』第783号、2015「中央アジア定住ムスリムの婚姻と離婚」藤本透子編『現代アジアの宗教―社会主義を経た地域を読む』春風社、2015「揺らぐ家族と農村―ソ連解体後のウズベキスタンにおける海外就労とその宗教的帰結―」小島敬裕編『移動と宗教実践―地域社会の動態に関する比較研究―』CIAS Discussion Paper No.47


『Berlin Transgression』の制作にむけて

てらだゆうき (東京大学大学院)


This is a story about the daily struggles of drag queens and transsexual artists in what is supposed to be one of the world's most liberal cities, Berlin, 25 years after the fall of the wall. In their search for love and recognition they fight against the violence of social norms in a witty and courageous manner. This project sheds light on the life of performers whose stage is mainly gay bars and fetish clubs. We followed five main characters not only to the back stage but also to their homes where they opened up their hearts about their deepest dreams and desires.



てらだ ゆうき(監督)
1986年東京生まれ。ロンドン大学政治学科を卒業後、現在東京大学大学院在籍。芸術と社会の関係に幅広く関心があり、ミュージアムの歴史と表現芸術に関する研究を専門とする。2014年訪問研究員としてベルリン自由大学に滞在中、映像人類学のクラスに参加。Berlin Transgressionが監督デビュー作となる。

2014年~2015年までベルリン自由大学訪問研究員。現在は東京大学訪問研究員。経験豊富なジャーナリストとして独自の国際政治雑誌とポッドキャスト(Blynkt)を立ち上げる。2014年にKaskelineフィルムアカデミーを卒業し、Berlin Transgressionが監督デビュー作となる。

Anthro-film Laboratory 17


会場: 国立民族学博物館4階 映像実験室(青い扉の部屋)
〒565-8511 大阪市吹田市千里万博公園10-1




作品2.『Between Homes: African Floating in Hong Kong』
許景新/Jerome Xu (香港浸会大/Hong Kong Baptist University)

It's a documentary about African people in Hong Kong. They have different identities in Hong Kong, but most of them are refugees. To some extent, refugee is their lifestyle. They are experiencing the multi-dynamic home in this era of globalization.

Anthro-film Laboratory 16


会場: 国立民族学博物館4階 映像実験室(青い扉の部屋)
〒565-8511 大阪市吹田市千里万博公園10-1







『A do fine a そこにいるか』


発表者は西アフリカのベナン共和国アラダ市に2012年1月から2014年1月まで2年間、青年海外協力隊員として滞在した。そこで知り合った、アブラヤシ灰の伝統石鹸作りで生計を立てるおばあさんを中心に、その場所で生活する、ということを、 日常の生活と死にともなう儀式を通して描く。

Anthro-film Laboratory 15

於:国立民族学博物館 4階 大演習室

太田光海 社会科学高等研究院(EHESS)社会人類学部
矢野原佑史 京都大学アフリカ地域研究資料センター

森田良成 大阪大学大学院人間科学研究科
大森康宏 国立民族学博物館

発表者1 太田光海 社会科学高等研究院(EHESS)社会人類学部



発表者2  矢野原佑史(京都大学アフリカ地域研究資料センター)


発表者は2006年より、カメルーン都市部におけるヒップホップ・カルチャーとそれを実践する若者たちについて調査を進めてきた。その際、彼らの多くが居住するスラム地区で彼らとともに日常生活をおくり、楽曲や映像の共同制作を行うという調査方法で、彼らの世界観や生活におけるヒップホップ・カルチャーの機能等を考察してきた。 特に、若者たちの世界観をフィクショナルに視覚化するプロモーション・ビデオが、日常生活からは視認できない彼らのオルタナティブな「リアリティ」や時代性を映し出す「イマジネーションの民族誌」である可能性を検討してきた。本発表では、以上の視座より、新しい映像人類学の方向性を指し示す。


Anthro-film Laboratory 14


日時:2014年12月5日 13:00 -
場所:大阪大学 吹田キャンパス
人間科学研究科 1F インターナショナル・カフェ

参加ご希望の方は にメールください

自分と母、祖母が語る『her stories』(2010)


コメンテーター 藤目ゆき(大阪大学人間科学研究科グローバル人間学専攻・教授)
ファシリテーター 田沼幸子(同専攻・助教)

「そして彼女は片目を塞ぐ −Then, She Closes Another Eye—」
(Ⓒ根来祐 2001/ビデオ/57分)

「her stories」
(Ⓒ根来祐 2010/ビデオ/50分)

映画、テレビドキュメンタリーの仕事を経てフリーに。97年に依存症をテーマに短編を3本制作。01年に摂食障害を扱った長編ドキュメンタリーを制作。祖母、母、自分の三世代の労働とライフスタイルを並べた「her stories」などの作品がある。

Anthro-film Laboratory 13

Film screening and Discussion with Kieran Hanson

日時:2014年3月18日 19:30 -
入場料:500 yen

Date: March 18th 19:30–
Venue: Tengegi kinematoron
Address: 1-1-18 Nakazakinishi Kita-ku, Osaka-shi, Osaka-fu, Japan
Charge: 500 yen
Reservation is required 

Kieran Hanson will be showing his award-winning film “Shooting Freetown” below. We will discuss about experiments in collaborative documentary filmmaking based on his film projects “Shooting Freetown”, “One Long Journey”, “British Born Chinese” and “Beyond Freetown: The Moa River Journey”.

Shooting Freetown (2011) 29min
A short documentary film, shot in Sierra Leone (May-July 2011)
Director: Kieran Hanson, UK
Camera, Sound, Editing by Kieran Hanson.
Produced as the final project for MA Visual Anthropology,
Granada Centre for Visual Anthropology, University of Manchester.

Facebook Page:

A decade since Sierra Leone's devastating civil war, from the ashes rises a new dawn of creativity in audio-visual media. Inspired by Jean Rouch's ‘shared anthropology’ and ‘ethno-fiction’, Shooting Freetown follows three people forging their way in film and music in the nation's capital, facing the constant struggles with vision and resourcefulness. By incorporating collaborative video projects, their stories give a fresh image of post-war Freetown - presented to the world through their own lens.

WINNER Best Film (Student Short Documentary), Manchester Film Festival 2012
WINNER Espiello Chobin Award (Best Film by a Director Under 30), Espiello International Ethnographic Film Festival 2013
NOMINEE Student Award, One World Media Awards 2012
3RD PRIZE Debut Competition, VI Moscow International Festival of Visual Anthropology

Director Bio:
Kieran Hanson is a film-maker from Lancashire, UK. He attained an MA Visual Anthropology from the Granada Centre, University of Manchester in 2011. His thesis was an ethnographic film project carried out over the summer and autumn of that year in Sierra Leone, West Africa. This resulted in the short documentary Shooting Freetown, plus a number of collaborative video pieces. Shooting Freetown has been selected for festivals all over the world, winning several awards and earning a nomination for the prestigious One World Media Awards.

As part of Manchester based film production and education company All Rites Reversed (, his roles include Co-Producer on One Long Journey, sound recordist on British Born Chinese as well as Assistant Tutor on the Filmmaking For Fieldwork summer course. Kieran recently returned from several months in Brussels developing audio-visual projects with Think Young. He is currently a guest lecturer in visual anthropology at Yunnan University (China) and is editing his forthcoming Sierra Leone film Beyond Freetown: The Moa River Journey.





場所:大阪大学吹田キャンパス 人間科学研究科 東館106教室

講師: 市岡康子氏 (テレビプロデューサー/ディレクター)


15:00–17:00 「映像制作における異文化理解とその表象」

17:20–19:00 「開発への渇望」


Anthro-film Laboratory 12

Works-in-progress seminar

日時:2014年1月31日 16:30–
場所:国立民族学博物館内 総合研究大学院大学 第1演習室

発表作品1.Po thi

Directed by Eisuke Yanagisawa and Vincenzo Della Ratta
2013/ Hi-Visions/ 34min

“Pơ thi” is the biggest death ritual and ceremony of the Jarai ethnic group in Vietnam. They believe that when someone dies, his or her Spirit is not able to rejoin the ancestors. Only after “Pơ thi” has been celebrated, the Spirit will be able to reach its final destination in the “Village of the Spirits”.Shot in the Central Highlands of Vietnam, this movie summarizes the most significant moments of the “Pơ thi” ritual, from its preparation till the end of the celebration. Parades of disguised figures, animal sacrifices, gong music and dances are performed by the living to please the Spirits of the dead, and to release them from all earthly bonds. Apart from allowing viewers to witness a fascinating traditional ritual, this movie shows us how such traditions continue to exist in the context of modern Vietnam.

Selected in World Film Festival 2014

発表作品2.We Don’t Need a Grave
Directed by Satbyul Kim

SHIZENSO is a natural mortuary practice that has no religious affiliation. It scatters cremation ashes of the deceased in the ocean and mountain. During 1990s in Japan, SHIZENSO emerged due to the urbanization and changes in social attitudes towards family and religion. The film recounts stories of members from Grave-Free-Promotion Society (GFPS) who practice Shizenso. It explores not only this unique practice of departing one s beloved ones but also the mixed emotions of those who practice it.

Anthro-film Laboratory 11

Film screening with directors -- 監督と考える、映画のチカラ --




アートプロジェクト「今日、この島に私がいます」 (30分、日本語)



映画 "We Want (U) to Know" (54 min., English subtitle)
(邦題:何があったのか、知りたい(知ってほしい)) 54分、クメール語、英語


エラ・プリーセ (Ella Pugliese) 監督

Anthro-film Laboratory 10



あごうさとし (劇作家・演出家・俳優・ロボットオペレーター)

ベンヤミンの「複製技術時代における芸術作品」「歴史哲学テーゼ」等を下敷きに、「パサージュ」というタイトルで上演している。 ・「パサージュ1」登場人物(ベンヤミン)が、演劇の構成を試みる。2012年11月カフェモンタージュにて上演。


大阪府出身。同志社大学法学部卒業。広告会社でコピーライターとして勤務。退職して、2001年、WANDERING PARTY の旗揚げに参加。第3回公演以降、全ての作品の作・演出をつとめる。2011年劇団解散後は、利賀山房で上演したイヨネスコ作「授業」を皮切りに、「複製技術の演劇」を主題にデジタルデバイスや特殊メイクを使用した演劇作品を制作する。昨今は、平田オリザ氏のロボット演劇のロボットオペレーターとしての活動も加わる。


2010 「total eclipse」(作・演出)於:横浜美術館・国立国際美術館
2010 「silent fart, holy fart」(作・演出) 於:京都府立文化芸術会館
2011 「授業」イヨネスコ作(演出・出演)於:利賀山房
2011 やなぎみわ演劇プロジェクト「1924海戦」(脚本・演出助手)
    於:神奈川芸術劇場 大スタジオ
2012 やなぎみわ演劇プロジェクト「1924人間機械」(脚本・演出助手・出演)
2012 「しあわせな日々」ベケット作(演出・出演) 於:利賀山房
    —複製技術の演劇—パサージュⅠ(作・演出・出演) 於:カフェモンタージュ
    —複製技術の演劇—パサージュⅡ(作・演出・出演) 於:アートエリアB1
2013 青年団+大阪大学ロボット演劇プロジェクト「さよなら/働く私」
    (ロボット操作) 於:ジャパンソサイエティー・オハイオ州立大学他

2006〜2008 ラジオドラマ 京都府人権放送「はたけさんちの夕ご飯」脚本(KBSラジオ 電通関西支社)


Anthro-film Laboratory 9

 1979年の革命後、イラン政府が欧米諸国と敵対する一方で、イラン映画はキアロスタミやマフマルバーフなど巨匠を多数輩出し、世界的に高い評価を得てきました。日本にも多くのイラン映画ファンが存在し、両国の映画交流も拡大しつつありますが、映画政策や映画を取り巻く社会状況を紹介する学術研究は、日本ではあまり実施されてきませんでした。「革命後イランにおける映画と社会の学際的研究―権威主義体制下の娯楽と抵抗の文化」(トヨタ財団助成)プロジェクトでは、経済学、歴史学、社会学、ジェンダー研究といった多角的な視点から研究を実施すると同時に、映画関係者とのインタビューを記録し、短編映画として編集することを計画しております。今回は、映像作品の制作が初体験である報告者より、Anthro-film laboratoryにて企画と製作過程の作品を紹介させて頂き、コメンテーター及び参加者の皆さまより、アドバイス、ご意見を頂きたいと思います。



研究プロジェクトの概要説明後、短編映画「周縁化 あるいは 非周縁化された女性たち―イラン映画界で生きることTo be marginalized, or not to be marginalized :Women as cinema practitioners in Iran」(監督 Naghme Samini)と「イランと日本の映画交流」(監督 Gotolatollah Zakeri)の企画の紹介と映像(10分~15分程度)上映の予定です。

2. 鈴木均/日本貿易振興機構アジア経済研究所上席主任調査研究員

3. 司会

田沼 幸子/大阪大学大学院人間科学研究科助教

5. お問い合わせ先・共催
Tel: 03-3203-4748 fax: 03-3203-4840

Anthro-film Laboratory 8






2. 『Sound of Tai Weaving』



3.『Seven Songs for Mourning: Myel Agwara among Alur 』(仮題)
撮影年:2009~2013年 撮影地:ウガンダ共和国、ネビ県、ホイマ県

Myel agwara is the last farewell for the dead, literally means "the dance of long flute" in Alur, spiritually controlled by ambaya, the representation of other world. Since 2005, we prepared myel agwara for Cezario Oungi, the late clan leader. The ritual was held on March 2012 for passing on intangible mores to the future generations. It was performed for the first time since 1987 in Uganda. This film focuses on the songs and practices to portray the everyday life providing us with the opportunity to rethink the meaning of death and other world.

4.『NGAGPA STYLE ~ヒマラヤの在家密教行者の世界~』(仮題)
発表:佐藤剛裕/明治大学野生の科学研究所、ゾクチェン研究所 研究員
撮影地:ネパール ムスタン郡・ドルポ郡

発表者は、ヒマラヤ高山地帯で寺院組織に属さずに村落の祭祀を扱う在家密教行者(ンガッパ)の伝統を研究している。今回の鳥装儀礼と関わりの深い密教舞踊を伝えるドルポ、ムスタン地方の様子を通して、 チベット仏教の古層に迫る。

5. 『soledad y esperanza(孤独と希望) 』


20- 30分


Anthro-film Laboratory 7

詩的かつラディカルな映像表現で知られるアーティスト/人類学者のLaurent Van Lancker 博士が、来月ベルギーより来日し各地で映画の発表を行います。関西では、彼を迎えた以下二つの企画を予定しております。

『Surya』 上映
日時:2月19日 19:30–22:00
Charge: 500 yen

『スーリヤ Surya』 2007, 76min, 英語他
 Directed by Laurent Van Lancker
※ 作品上映後のディスカッションは、主に英語で行います。

ローラン・ヴァン・ランカー Laurent Van Lancker

ブリュッセルを拠点に活動するアーティスト。映画制作(IAD Film School, Brussels)と人類学(SOAS/ロンドン大学東洋アフリカ研究学院)を学び、ゲント大学で芸術学博士号を取得。制作した映像作品は、映画館、アートセンター、美術館、テレビ等、多様な場で公開されてきた。『Ymako』(英国王立人類学協会主催国際民族誌映画祭1998においてバジル・ライト賞受賞)、『雲と移動』(グランプリジュンヌ、アジア映画祭1999)等を発表後、2001年から2012年にかけて『実験的民族誌』と呼ばれる短編ドキュメンタリーのシリーズを制作。自己再帰的/パフォーマティヴ/相互行為的/感覚的/感触的といった様々な映像のモードを探求してきた。長編ドキュメンタリー『スーリヤ』は、ロドス国際映画祭で金鹿賞・観客賞を受賞した他、パリ、ライプツィヒ、ドバイ、ダーバン、マル・デル・プラタ、モントリオール、サンクトペテルブルク等の映画祭で上映された。近年は「拡張されたドキュメンタリー」研究グループ(ゲント大学)に参加し、インターネットによる芸術的なコラボレーション実践プロジェクト【】を完成させている。また教育者としても、ベルリン自由大学、ロンドン大学、ブルキナファソやベルギーの映画学校等で映像人類学や映画制作の指導を定期的に行う。ブリュッセルを拠点とする芸術・映像人類学の国際ワークショップSoundImageCulture(SIC)の中心的な人物でもある。


Workshop “Experimental Ethnographies”
(4 作の上映と各作品の方法論や様式に関する監督による解説と議論)
会場:国立民族学博物館内 総合研究大学院大学 第1 演習室

Laurent はベルリン自由大学、ロンドン大学、ブルキナファソやベルギーの国立映画学校等、各地で映像人類学や映画制作の指導を行っています。
ブリュッセルを拠点とする芸術・映像人類学の国際ワークショップ SoundImageCulture ( ) の中心的な人物でもあります。
両会ともに定員20 名、議論は英語で行います。

Anthro-film Laboratory 6

大阪府大阪市中央区東心斎橋1-17-15 丸清ビル5F

『極私的エロス 恋歌1974』等で知られる映画監督 原一男監督をお招きし、エチオピア料理を食べながら、 映画について自由に議論する会にいたします。

Anthro-film Laboratory 5

日時:9月25日 16:30-

上映作品 『IPPO IPPO』

発表者 和氣正太郎 (マンチェスター大学 Social Anthropology with Visual Media, Ph.D Student)
コメンテーター 鈴木和歌奈(大阪大学人間科学研究科博士課程/日本学術振興会特別研究員DC1)

日本・ノルウェー 2010年・47分・DV 

女性がんサバイバーのマーシャさんは、静岡県がん患者会「一歩一歩の会」が 主催する富士登山に初めてチャレンジする。本作は、この登山に同行し記録 することで、彼女の抱えるジレンマや恐れ、そして希望を照らし出す。 はたして、彼女の得た「病後の人生」とは?英語字幕付き上映。


Anthro-film Laoratory Vol 5.

Date & Time: September 25th 16:30–
Location: Osaka University, Yumennu Hall No reservation required.

Shotaro Wake
(Ph.D. Student. Social Anthropology with Visual Media,
The University of Manchester)

Wakana Suzuki
(Graduate School of Human Sciences, Osaka University, JSPS)

IPPO IPPO (2010)
Japan and Norway. 47min. DV. Director: Shotaro Wake.
(in Japanese with English subtitles)

Marsha is a middle-aged housewife with a long history of fighting against serious diseases. This year she has to decide if she is going to participate for the first time in the annual support group event of climbing Mt. Fuji, Japan’s highest mountain. As we follow Marsha in the steps towards her decision, we begin to understand the meaning of her dilemma, and ultimately experience her hopes and fears as we travel along this special journey with her.
This ethnographic film, based on the visual/medical anthropological perspective, raises important questions about quality of life; what does it mean to live a meaningful life, and where and how do you find it?
The film, Ippo Ippo, is a product of director Shotaro Wake’s master thesis project in Visual Cultural Studies at Univeristy of Tromsø, Norway.
For this he conducted a five month fieldwork in 2009 at a local cancer support group, Ippo Ippo, in Shizuoka, Japan. He joined the group not only as a researcher but also as a former cancer patient and became their latest cancer member.

Profile of the filmmaker/Presenter:
Shotaro Wake is currently doing a Ph.D in Social Anthropology with visual media at the University of Manchester. His research project, Japanese Cancer Stories, will explore how patients and their zone of trust re-establish continuity in their everyday lives in Japan. More specifically, Shotaro will look at how they use empathy to communicate emotionally sensitive topics and issues that are difficult to put into words.

Anthro-film Laboratory 4 – "Cuba Sentimental” Series


期日:2012年8月22日(水)19:00 -22:00

『Cuba Sentimental, 旅の記録』(60分)

キューバを出国した友人達を追った映像作品『Cuba Sentimental』は山形やドイツ、キューバの映画祭で上映された。同作を観た映画監督らのコメントと、同作の登場人物ら本人がキューバに集まって鑑賞したときの様子とコメントをあわせ、「絶え間ない探求」を続ける、もうそれほど「若い」とはいえない青年たちの姿を描く。

当日は、前作『Cuba Sentimental』の上映のあと、新作『Cuba Sentimental,旅の記録』を上映いたします。

『Cuba Sentimental』

Anthro-Film Laboratory 3 - Work-in-progress Film Screening & Discussion

期日:2012年7月19日(木)19:00 - 22:00



『How I See』






Anthro-film Laboratory 2 - "Sense"


期日:2012年7月17日(火)19:00 - 22:00

特に、マンチェスター大学映像人類学修士課程The Visual & Sensory Media pathway学位フィルムや、ブリュッセルを拠点とする人類学者とアーティストの協働ワークショップSoundImageCulture(SIC)、映画監督の松山のぞみさんの作品等を上映いたします。

"In the realm of unconscious desire"
(3min, 2006) Nozomi Matsuyama
A short experimental piece expresses a young female photography student’s desire in her dreams. Things that she likes and wants in her real life are always reflected in her dreams even if it was something that she didn’t want to know.

"Silent Noise"
(16min, 2007) Nozomi Matsuyama
Jo has been disturbed her sleep by baby crying next door. There has always been a baby’s buggy outside the neighbour’s door but she’s never seen a baby. However, when she hears news about her sister, things start to change in her surroundings.

Anthro-film Laboratory 1 - 民族誌映画祭の報告と上映会

川瀬慈(国立民族学博物館 助教)
伊藤悟(国立民族学博物館 外来研究員)

期日:2012年6月12日(火) 17:00–21:00
会場:国立民族学博物館内 総合研究大学院大学 第1演習室

近年盛んな民族誌映画祭(ethnographic film festival)は、文化人類学の新たな理論的潮流をうみだす母胎として、メディアアートや映画界をも柔軟に包摂しつつ各国で展開しています。しかしながら、民族誌映画祭について日本ではあまり知られていないのも事実です。そのようななか当映画祭の現状について情報交換する場をもちたいと思います。


第11回ゲッティンゲン国際民族誌映画祭( )より

【Best Student Film】
"Looking at Themselves - Babaluda Luda" (34')
- Romania -
Mihai Andrei Leaha (Romania)

【Honorable Mention】
"My Kosher Shifts" (23')
- Great Britain-
Iris Zaki (Israel)

【Honorable Mention】
"I Filming" (47')
- China, Yunnan, Shilin -
Lijun (China)