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Chapter 13: Visual Anthropology -- Oct. 5 Final Draft Peter Biella

M.A. Film Production; M.A., Ph.D. Cultural Anthropology San Francisco State University

This chapter is written primarily to help visual anthropologists publish their textual and visual works: as such, it can assist in the process of getting hired, retained and promoted within academia. Information about publishing can also help scholars who plan to use anthropology and media in real-world, applied contexts. Other visual anthropologists, whose goal is to be full-time filmmakers or photographers, or who wish to work in distribution and film archives, may benefit from the sections of the chapter that concern producing and distributing non-print media.

Since this is meant as a practical guide, I will begin by being practical. To do so, I must temporarily side-step my primary assignment – giving advice about getting published – and identify some hard facts. See Figure 1. Almost every new anthropology job opening in the United States is announced in Anthropology News. Between 2007 and 2010, sixteen jobs announcements included the word “visual” (those sixteen jobs were announced twenty-nine times). Strikingly, of the sixteen, only five appeared to require the full-time teaching of visual courses. In the other eleven, “visual” was mentioned as one possible course option among others. Most announcements sought applicants to teach one or more courses in “visual anthropology,” while three named “visual culture,” one “visual arts,” and one “visual modes of power.” During this three-year period, jobs requiring a cultural anthropologist were fourteen times more numerous than those specifying “visual.”

Figure 1. Anthropology News announcements of employment opportunities in subfields of anthropology, 2007 to 2010. The number of announcements is roughly twice that of actual jobs.

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Figure 1 makes all too clear that the global economic collapse which began in late 2008 correlates with a deep crisis in anthropology and academic hiring. With the realization of this difficult – even grave – situation, two other facts must also be recognized. 1) Far more important for a beginning anthropologist than getting published is getting hired. 2) Most important for getting hired when being published is what one is published saying. Recently-degreed visual anthropologists, like their cultural anthropology counterparts, need employment, and the academic jobs are in the cultural subfield. Thus the RUPVA – the Righteous but Utterly Pragmatic Visual Anthropologist – should focus everything – especially the dissertation topic – on getting the interview. The choice of dissertation topic is the single most important factor influencing oneʼs chance for employment. That choice, buttressed by resulting conference presentations and publications, must be paraded large in vitas, letters of recommendation, and job applications. That choice, more than any other, will make the expert in visuals attractive to the hiring committees that are likely to be dominated by not-particularly-visual anthropologists. The RUPVA must remain true to her vision of visual anthropology and realistic about the job ratios in Figure 1. Hirable dissertation research must therefore be sure to develop in the visual applicant a non-visual expertise that is in demand. The well-tempered visual anthropologist will be sure to publish some articles that are demanded by culturally-focused hiring and promotion committees. Advice in publishing for those readers may be found in the “Cultural Anthropology” chapter of this book. Departments of film studies are likely to people their review committees with scholars who have publishing expectations of their own. These too must be respected. Then, when the applicant is short-listed for a job because her work demonstrates the demanded non-visual expertise, she presents her research before the hiring committee and unveils the magic charm! She reveals that she is not only expert in whatever area of expertise allowed her to stand before the committee in her job talk but is also secretly a dark glassed, wind-swept visualist, able to offer classes in that exciting field! Then, only then, will she and her visuals be attractive to the hiring committee: only then can she assume a proper place in the ranks of the employed. Drafts and more drafts Visual anthropologists must be versatile and fluent writers, whatever subject they approach. For that reason, much of the following advice about publication is pertinent to cultural anthropologists as well. Neither can escape the importance of rewriting. Thomas Mann understood our problem: “Writers are people for whom writing is more difficult than it is for other people.” Soon after I received my PhD, I wrote twelve drafts of an essay before I realized what I had to say. Before that point, I had not known how much brain-squeezing and ground-work were necessary in normal writing. Those people publishing for the first few times benefit particularly from the advice of peers. Writersʼ coffee klatches are very useful. Help may also be available from older anthropologists. It is within the rules of the game to telephone a scholar during office

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hours and ask for feedback on an essay relevant to the scholarʼs expertise. Some will refuse, but others will understand their professional responsibilities differently and agree to help. The kindness of strangers is also available to visual anthropologists who would profit from help in film editing. Many filmmakers will be happy to watch a rough cut if the topic reasonably matches their own interests. Helpers in film writing and editing may be found in many ways, including by asking for names from members of the board of directors of the Society for Visual Anthropology (2010). The words of an expert may make all the difference when moving a film – or an essay – from a draft to a release. Entering the gate: conferences and journals First publications seem daunting, but Ph.D. dissertations can be reworked comparatively painlessly, and be published either whole or as several independent essays (Anwar 2004, Germano 2005, Luey 2004). An even less painful route to publication is to present dissertation material at conferences. Sessions are occasionally scouted by journal editors with the papers compiled in a special issue. Sometimes, too, session organizers plan from the beginning to collate all papers into an edited volume. Whatever the case, visual anthropologists who enter the gate of publication must meet senior scholars and other scholars whose interests coincide with their own. Attendance at annual meetings allows such opportunities. In the United States, the SVAʼs Visual Research Conference at the annual AAA meetings is particularly important. Because its format is “interactive” – with question-and-answer sessions interspersed in each presentation – newcomers have many opportunities to recognize sympathetic others and many opportunities to initiate conversation. These talks may lead, by direct and circuitous routes, to funding, distribution and publication. Another important source of information about colleagues is the “Visual Anthropology” section that appears monthly in Anthropology News. If networking is the most agreeable route to publication in a journal, the standard, less agreeable method is to submit articles cold turkey. Journal editors are gatekeepers and bouncers: authors must therefore know the criteria by which editors establish – or dismiss – a writerʼs credentials. Some editors first jump to an essayʼs bibliography as I did when I edited Visual Anthropology Review. Sooner or later, however, editors must ask whether an author has something interesting to say. They want articles that open new vistas on the kind of work that their journal specializes in publishing. Authors must therefore have a good idea of what issues and approaches the editors of each journal prefer. Different journals, different foci

Visual writers need to develop a familiarity with the variety of topics typically featured in each of the journals related to their field. As producers of the 1930s radio broadcast Zorro wrote in their guide to scriptwriters: “Do not give Zorro psychological

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problems. Do not change Zorroʼs character. People love Zorro just the way he is!” It is easier to find a journal that is sympathetic to oneʼs efforts than to convert a journal to them. Once, as a student, I submitted to a journal an article in which I sparklingly rebutted an essay written by its recently-deceased editor-in-chief. The ensuing drama forced me to learn the hard way a lesson I am trying to offer my readers here without pain. The lesson is that prospective authors should identify a journal that is likely to be sympathetic with what they have to say. Authors should scan recent issues, pay close attention to Editorial Notes by the current editor, peruse the documents for journal authors and the aims-and-scope notes of serials. Below, I list the most visible English-language journals that feature essays in visual anthropology: the Resources List at the end of this chapter give the URLs of author instructions:

Invisible Culture-An Electronic Journal for Visual Culture – published at the University of Rochester

Journal of Visual Culture – published by Sage Visual Anthropology – published by Taylor and Francis Visual Anthropology Review – published by Wiley Blackwell on behalf of the

Society for Visual Anthropology Visual Studies – published by Taylor and Francis  

Peer review Essays enlighten the world – and they advance oneʼs career. This is especially true when publications appear in journals that are peer reviewed.6 In small-scale publications, this mysterious process begins by drawing reviewers from the journalʼs advisory board; when outside expertise is required, names may ultimately be drawn from an academic database that sorts by reviewer specializations.7 The principle task of peer reviewers is to make recommendations, whether to publish as written, publish with revisions, or reject. Reviewers provide other services as well, not least of which is to give useful feedback to authors whose work they evaluate. In my own case as a reviewer, I am most likely to give several pages of criticism if I see

                                                                                                               6 An enlightened look into the vagaries of peer review, from the perspective of the reviewers, is found in Ware (2008). 7 American Anthropologistʼs editors use an expert database and peer review workflow service called ScholarOne Manuscripts (formerly Manuscript Control). Insights into the headaches of wholesale peer reviewing can be found at the ScholarOne website http://scholarone.com/products/manuscript/ and that of its principle competitor, Editorial Manager: cf. http://www.editorialmanager.com/homepage/faq.html. Familiarity with these arcane techniques can reduce anxiety and make the application process more entertaining.

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hope for a submission with which I am dissatisfied. My reviews mention publications that I think the author should acknowledge, point out weaknesses and strengths in the argument, and query the validity of approaches I think are inappropriate. Following are questions that the editors of Visual Anthropology Review request their referees to consider:

• Does the submission have a principal thesis? Is this thesis presented clearly? • Is the scholarship sound, accurate, well-balanced and thorough? • Does the author rely on appropriate sources? • As a reader interested in this subject, would you consider the submission

important enough to recommend to your colleagues? (Visual Anthropology Review 2004)

Non-print publications The creating of film, video, photography and multimedia may be crucial to oneʼs identity and soul-force as a visual anthropologist: these publications also serve the field. Yet the acknowledgment that non-print media make a fundamental contribution to the discipline has been long in coming. Twenty-seven years after – and as a distant consequence of – Margaret Meadʼs (1975) famous dictum that anthropology need not only be a discipline of words, the Executive Board of the American Anthropological Association affirmed the following statement:

Ethnographic visual media (specifically film, video, photography, and digital multimedia) play a significant role in the production and application of anthropological knowledge and form an integral part of the disciplineʼs course offerings. Anthropologists involved in the production of visual works make valuable scholarly contributions to the discipline …. First, the AAA urges [university committees for retention, tenure and promotion] to evaluate ethnographic visuals as appropriate media for the production and dissemination of anthropological knowledge. Film and video, photography, and digital multimedia play increasing roles in research; they are crucial as teaching tools in the disciplineʼs course offerings; and they are often used in applied contexts (Biella et al. 2002).

These Guidelines for the Evaluation of Ethnographic Media have helped advance the careers of many visual anthropologists by assuring faculty members who evaluate their performance that the AAA recognizes visual works as significant professionally. Thus, the Righteous but Utterly Pragmatic Visual Anthropologist should not and must not refrain from producing works in film and video, photo-essays and multimedia, especially after having landed the tenure-track job. Once that barrier is crossed, oneʼs percentage of non-print publications may be increased. Film and Video Film distribution is identified in the Guidelines as a legitimate publication venue. When seeking a film distributor, it may be useful to note that the Society for Visual

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Anthropologyʼs Film, Video and Multimedia Festival has in recent years given the most awards to works distributed by Berkeley Media LLC, Bullfrog Films, Documentary Educational Resources, and Icarus Films. (The Further Resources section of this chapter provides contact information.) Submission to film distributors begins with a cover letter, a page-long press-release, and a DVD. The cover letter should mention whether the film has been included in festivals or won awards before distribution. In some cases, a very short letter of support from a recognized personage in the field may be useful, particularly if the film appears to stray from the norm. Only one distributor at a time should be contacted, allowing each the right of refusal before offering the film to another. Professional distribution is the tried-and-true means to insure that a film is seen, but not all distributors provide equal service. Some work much harder for the filmmaker than do others, offering hardcopy mailers, impressive online resources, YouTube clips and the option of pay-for-view internet streaming. The filmmaker must insure that the distributorʼs promised efforts are fully itemized in the contract. Since DVDs do not preserve the resolution of contemporary digital media, some additional expenses must eventually be met to provide the distributor with an uncompressed digital version. Self-distribution may bring a filmmaker higher income, since professional distributors keep more than half of the gross on sales and rentals. But distribution includes an enormous amount of mind-numbing work. Moreover, having a recognized distributor is acknowledged to be a professional achievement. See Garon (2009) for useful information not only about distribution but also about the legal and business components of independent filmmaking, The inclusion of oneʼs video works in film festivals is also acknowledged by the Guidelines to be a publication. Dozens of ethnographic, anthropological and documentary festivals take place each year. Application forms differ, and the maker is alternately asked to provide 100-, 150- and 200-word descriptions, often along with an English transcript of the audio track and the film credits verbatim. The most current sources of information about anthropological film festivals are found online: URLs are included in Further Resources, below. Festival attendance allows newcomers a priceless opportunity to meet colleagues who can help them find collaborators, distributors and funding (Biella 2007:iv). Just as essays submitted for publication must pass muster with peer reviewers, so too films must be juried if they are to be included in a festival. Like journals, each festival has a characteristic tone and type of subjects that it favors. All submissions will fare better in some venues than others. To get a sense of the best festival for a film, there is no substitute for attending as many festivals as possible! Unlike the submission of journal articles, one may submit a film to any number of festivals simultaneously. The only limiting factors are application preparation time and festival fees. Film juries, like that of the SVA Festival which I know best and will describe, have rough and ready, standard criteria for evaluating and selecting films. Anthropological film juries look for a filmʼs grounding in ethnographic fieldwork, its competent engagement with ideas important in anthropology, and its technical proficiency. More than this, we

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keep our eyes open for brilliance in non-standard domains: the SVA has, for example, given one-time awards for “Excellence in Cinematography,” “Visual Poetry” and even “Courage under Fire.” I confess that we also have a “Lost Opportunity” award which we do not bestow … because its film designees are not accepted into the festival. I advise beginning filmmakers to demonstrate all possible excellence in the first three minutes of a submitted film. Jurors must be engaged as viewers from the start, and they cannot always be expected to watch masses of weak material in anticipation that something better will come. Beginning filmmakers usually make their films too long. They must follow the mantra, when in doubt, cut it out. After they have cut what is doubtful to them, they often need to cut another 20%. Finally, before filmmakers submit a film to a festival, they should also conduct test screenings with a variety of audiences – not just friends – seeking as much critical feedback as possible. Because a film ultimately must stand on its own, I ask my film production students, when screening their works in class, not to explain the cause of their errors or justify decisions that others do not like. Being quiet helps them listen better. Explanations and unpopular decisions may be described in oneʼs memoirs, but they cut no ice with a critical audience or a film jury.

Whereas writing an essay requires a pencil and paper, writing a video requires a camera, expensive media and, often, salaried assistants. These costs add up quickly, and grants are very helpful for completing oneʼs work. To learn the ropes of film grant proposal writing, apprenticeships with successful filmmakers are ideal. Many grant resources can be tracked down through university library subscriptions to databases; I recommend The Foundation Center (http://foundationcenter.org/) and GrantStation (http://www.grantstation.com/). Photo-essays Although islands of visuality in academia are rising (and the Guidelines for the Evaluation of Ethnographic constitute part of that slow elevation), the printed word remains academiaʼs privileged medium. Most publications in film theory and the visual arts are print-based; many include few visuals. Of the visual publications listed in Journal Resources, below, only two have a provision for non-print submissions!

The journal Visual Studies states that it “encourages visually-led submission.” Author / media-makers should query the current editor before submitting. In the absence of greater clarification, observation of past publications may best indicate the preferred style. The AAA journal Visual Anthropology Review has recently invited photo-essays for peer reviewed inclusion. Its current editor indicates that the format “consists of a number of photographs with written text directly related to the photos” and suggest that the photos can be within the text or in other configurations. “Whatever the ordering, the images contribute overall a collection of photographs to the essay.” And “the author should address in the written text the question of ʻWhy photography?ʼ” (Buckley 2010) Other outlets for visual works abound online: Flikr, for example, is closely watched by gallery owners looking for material as well as interested colleagues. In addition, the American Anthropological Association has recently introduced an annual

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Photo Contest, winners of which are digitally projected at the yearly meetings (American Anthropological Association 2010). The Society for Visual Anthropology offers a periodical John Collier, Jr. Award for Still Photography. Multimedia The integration of interactive text-based and time-based media is the future of visual anthropology (see Biella 1993, 2009). Since interactivity permits the best available integration of textual scholarship with video, the theoretical with the empirical, it offers the most promising integration of cultural and visual anthropologies. Interactive media is also particularly useful in advancing the analysis of existing films and videos, including those that are ethnographic (Biella, Chagnon and Seaman 1997). Yet mastering html, image-making and one or more subfields of anthropology is very daunting. Perhaps for that reason, and despite the proliferation of web-based instruction, textual scholarship that conducts interactive analysis is still rare. Because this is the disciplineʼs inevitable direction, we must collectively develop peer-reviewed formats for our new work. Copyright In much non-print media production, copyright plays a thorny role. The publication of pre-copyrighted photographs requires clearance. When visual anthropologistsʼ publications include images from dominant media for the purpose of critique, they (and their editors) must be very clear on the legal labyrinths of copyright and Fair Use as guaranteed in the First Amendment. One important element of that clarity comes from a 1994 Supreme Court decision that found parody, as cultural critique, to be a permitted form of quotation, despite the copyright holderʼs objection (Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569). Helpful guidelines in the use of Fair Use are available from American Universityʼs Center for Social Media (Center nd; Ad Hoc Committee nd), from the International Visual Studies Association (Papademas 2009), and from Stanford University Libraries (SULAIR 2007). For case studies in the perils of jamming the visuals of the powerful, see Lasn (2000), Levin (2003), Westbrook (2006) and Biella (2009:149). Conclusion Visual anthropology has always walked a tightrope between artistry and science. John Collier once said that the art of the novel offers the best anthropology. I think he had a point. To show academia of the value of our art, visual anthropologists must take what strength we can from our ineluctably wordy discipline; we need employment from that discipline; to get it, we need to hold our own in publishing. The material base thus assured, we may proceed to visualize in whatever novel medium we choose. Visual anthropology may strike purists as iffy or not-quite-the-thing. Apart from the fact that most of our visual works have a fleshly foundation in the surface of other peopleʼs skin, another cause for skepticism is that we rarely produce our media by ourselves, autonomously. The culture-analyst using film or other media has never sallied forth alone, armed solely with notebook and verandah. Our dependence on others has

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always been manifest: we need someone to do sound, someone else to do picture, perhaps someone to co-direct, to help the translations, to watch our back and keep the camera from being stolen. Our dependence on groups and group-processes is even more obvious in the case of applied visual anthropology. There, ivory tower doubts about touchy-feely visuals, about popularizers, and about getting oneʼs hands dirty are even more pronounced than they are concerning media-makers with no applied intent. Yet visual works have an intimacy that can touch non-academics and our in-country collaborators more intensely than the most perfectly reasoned essay. Visuals serve an irreplaceable role in the global practice – and global understanding – of anthropology. Thatʼs why we canʼt stop and wonʼt stop what weʼre doing. FURTHER RESOURCES References All online media were accessed June 4, 2010.  American Anthropological Association  

2010 AAA Photo Contest. http://www.aaanet.org/issues/anthronews/photocontest.cfm.  

Ad Hoc Committee on Fair Use and Academic Freedom, International Communication Association  

nd Clipping Our Own Wings Copyright and Creativity in Communication Research. Washington, DC: School of Communication, American University. http://www.centerforsocialmedia.org/fair-use/related-materials/documents/clipping-our-own-wings-copyright-and-creativity-communication-r

Anwar, Mumtaz A.  2004 From doctoral dissertation to publication. a study of 1995 American graduates

in Library and Information Sciences. Journal of Librarianship and Information Science 36(4):151-157.

Biella, Peter 1993 Beyond Ethnographic Film: Hypermedia and Scholarship. In Anthropological

Film and Video in the 1990s. Jack R. Rollwagen, ed. Brockport, NY: The Institute; pp. 131-176.

2007 Editor's Introduction to Visual Anthropology of Europe. Visual Anthropology Review 23(1):iii-iv. Also available as an electronic document: http://online.sfsu.edu/~biella/biella2007a.pdf.

2009 Visual Anthropology in a Time of War. In Viewpoints: Visual Anthropologists at Work. Mary Strong and Laena Wilder, eds. Austin: University of Texas Press.

Biella, Peter, Napoleon A. Chagnon and Gary Seaman 1997 Yanomamo Interactive: The Ax Fight (CD-ROM). Fort Worth: Harcourt Brace.

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Biella, Peter, Jeff Himpele, Kelly Askew and David MacDougall 2002 AAA Statement on Ethnographic Visual Media. American Anthropologist

104(1):303-6. Also available as an electronic document: http://people.virginia.edu/~ds8s/VAR/guide.html and

http://societyforvisualanthropology.org/?page_id=464 Buckley, Liam M.

2010 Visual Anthropology Review seeks photo-essays. https://listserv.temple.edu/cgi-bin/wa?A3=ind0812e&L=viscom&P=2287&E=1&B=------%3D_Part_116717_21451766.1230687934423&T=text%2Fhtml

Center for Social Media nd The Code of Best Practices in Fair Use for Media Literacy Education.

Washington, DC: School of Communication, American University. http://www.centerforsocialmedia.org/fair-use/related-materials/codes/code-best-practices-fair-use-media-literacy-education

Garon, Jon M.

2009 The Independent Filmmaker's Law and Business Guide: Financing, Shooting, and Distributing Independent and Digital Films. Chicago: Chicago Review Press.

Germano, William P.

2005 From Dissertation to Book. Chicago: University of Chicago Press. Lasn, Kalle

2000 Culture Jam: How to Reverse Americaʼs Suicidal Consumer Binge – and Why We Must. New York: Harper Paperbacks.

Levin, Bob

2003. The Pirates and the Mouse: Disneyʼs War Against the Counterculture. Seattle, WA: Fantagraphics Books.

Luey, Beth, ed.

2004 Revising Your Dissertation: Advice from Leading Editors. Berkeley: University of California Press.

Mead, Margaret 1975 Visual anthropology in a discipline of words. IN Principles of visual

anthropology (1st ed.). Paul Hockings, editor. Pp. 3-10. New York: Mouton de Gruyter.

Papademas, Diana 2009 IVSA Code of Research Ethics and guidelines. Visual Studies 24(3):250-257.

Society for Visual Anthropology 2010 Board Members. http://societyforvisualanthropology.org/?page_id=32.

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SULAIR 2007 Fair Use. Electronic document,

http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/chapter9/index.html.

Visual Anthropology Review 2004 Guidelines for Referees. MS courtesy Liam M. Buckley, editor, Visual

Anthropology Review. Ware, Michael

2008 Peer review: benefits, perceptions and alternatives. London: Publishing Research Consortium. http://www.publishingresearch.net/documents/PRCsummary4Warefinal.pdf

Westbrook, Steve 2006 Visual Rhetoric in a Culture of Fear. Impediments to Multimedia Production.

College English 68(5):457-480. Journal Resources Invisible Culture-An Electronic Journal for Visual Culture – published at the University of Rochester General information: http://www.rochester.edu/in_visible_culture/ Journal of Visual Culture – published by Sage Instructions for authors: http://www.journalofvisualculture.org/submissions/  Visual Anthropology – published by Taylor and Francis

Instructions for authors: http://www.tandf.co.uk/journals/journal.asp?issn=0894-9468&linktype=44

Visual Anthropology Review – published by Wiley Blackwell Instructions for authors: http://www.wiley.com/bw/journal.asp?ref=1058-7187&site=1

Visual Studies – published by Taylor and Francis   Instructions for authors: http://www.tandf.co.uk/journals/authors/rvstauth.asp Anthropological Film Distributors to Investigate First Berkeley Media LLC http://www.berkeleymedia.com/ Bullfrog Films

http://www.bullfrogfilms.com/ Documentary Educational Resources

http://www.der.org/ Icarus Films

http://icarusfilms.com/

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Anthropological Film Festival Announcements The Society for Visual Anthropology

The annual SVA festival: http://societyforvisualanthropology.org/?page_id=28 Notice of international festivals: http://societyforvisualanthropology.org/?cat=6 The Newsletter of the Nordic Anthropological Film Association Latest issue: http://nafa.uib.no/ Visual Anthropology.net Latest issue: http://www.visualanthropology.net/