Ethnographic film & music
Jaguar (Jean Rouch, 1967)
The Nuer (Robert Gardner, 1970)
Spirit of Samba, The - Black Music of Brazil (Jeremy Marre, 1982)
Mountain Music of Peru (John Cohen, 1984)
Powerhouse for God (Jeff Titon, 1986)
Wedding in Galilee (Michel Khleifi, 1987)
The Drums of Winter (Sarah Elder, 1988)
Jumpin' Night in the Garden of Eden (Michal Goldman, 1988)
Releasing the Spirits: A Village Cremation in Bali (Linda Connor, Patsy Asch, and Timothy Asch, 1990)
Horses of Life and Death (Janet Hoskins, 1991)
Umm Kulthum: A Voice Like Egypt (Michal Goldman, 1996)
Buena Vista Social Club (Wim Wenders, 1999)
The Wood and the Calabash (Hugo Zemp, 2002)
Siaka, An African Musician (Hugo Zemp, 2005)
An African Brass Band (Hugo Zemp, 2006)
- communication in layers (audio or visual layers): use of voiceovers, subtitles, translations
- how are interpretaions made by the film?
- how is meaning communicated?
- how is sound track composed? relation of sound to image?
- ethnographic sound vs. added sound
- locking image/sound?
- music track (diegetic, non-diegetic music?) (relation of music to simultaneously visual content?)
- roles of director/editor/others involved in film production
- technology used
- fiction vs non-fiction?
- organization: narrative-centric, person-centric, performance-centric...
- relation to "fieldwork" (observation, participant-observation, interview, setup, reconstruction...)
- documentary, cinema verite, recreation, docudrama, feature
- relation of crew, camera to subjects
- role of subjects in film production
- cuts, chronologies, editing style, rhythm
- camera angles, movements
- ethnographic truth claims? self-critiques? (voiceover authority?)
- sources: interview, setups, observation, participant-observation
- political angles? critiques? power? objectification?
- action research?
- ethics and politics of representation?
- Direct cinema
online sources of ethnomusicological film (ethnographic or documentary):