Aleksej Gotthardi Pavlovsky

selection comitee

Aleksej Gotthardi Pavlovsky (1964) has been working since 1990 at the Division of Traditional Music and Customs of the Program of Entertainment of Croatian Television (today the Division of Traditional and Popular Culture) as a screenwriter and editor of documentary and musical broadcasts on popular and traditional culture. He has been employed permanently as the program editor in the same Division since 1996. He was the program editor, screenwriter, (co)writer and/or the author of the commentary of twenty different broadcasts which were screened as part of official programs of international festivals of ethnographic films and international and regional TV festivals, eight of which were awarded (with ten awards from nine different festivals). He is frequently commenting live broadcasts of folklore festivals and related stage productions. He defended his M.A. thesis titled Croatian Ethnographic Audiovisual Production in the Light of World Developments at the Department of Ethnology and...

Entrepreneurial Cultures in European Cities

Lecture, Zvjezdana Antoš

While working on the project of European Union’s Culture Program (2008-2010) “Entrepreneurial Cultures in European Cities”, which was aimed at exploring small and medium enterprises in seven European cities (Amsterdam, Berlin, Volos, Barcelona, Liverpool, Luxemburg, and Zagreb), we have produced several short films and later presented them in Digital Educational Catalogue of Projects (DEK-DVD). The project is primarily engaged with the economic, social and cultural strategies of entrepreneurs, many of whom have immigrant backgrounds. Those films show interviews with entrepreneurs and their customers, emphasizing the importance of innovation and creativity in entrepreneurial initiatives. Given that the project was interdisciplinary, each partner has contributed to the project whit his/her professional skills. http://www.eciec.eu/ The following films will be presented: Amsterdam Historical Museum (AHM), and Imagine Identity and Culture (Imagine IC), Amsterdam Museum of...

Ethnographic Film and Documentary in Scotland: the Discourse of Difference'.

lecture, Neill Martin

From an early date, and especially from the Romantic period, the dominant representational conventions of Scotland have derived from the Highlands, home to the Gaelic-speaking population. The reconstruction of Scottish national identity in the 18th century saw the wholesale plundering of Gaelic culture, which provided useful unifying symbols, such as tartan. Far from being consigned to the past, the wilful mythologising and 'othering' of the North continues, creating the 'real' Scotland in the minds of visitors. The lecture outlines the role ethnographic film and documentary played in this process of mythologising, in identity formation and the assertion of cultural difference generally. Particular attention will be paid to a series of films made for international consumption in the 1930s by documentary pioneer John Grierson. Dr Neill Martin, University of Edinburgh...

Ethnographic Illusionism: Subjectivity in Ethnographic Film in the Context of the Form/Genre

Round Table, ivo Kuzamnic, Aleksej Gotthardi Pavlovsky

Are there questions which are ‘impolite’ when it comes to scientific and expert discussions on ethnographic films – questions to which we do not have an answer, but pretend that we have surpassed them, i.e. that we are beyond them? On the basis of our long term practical experience on producing ethnographic documentaries, we believe that such questions exist and that evidently no consensus has been achieved regarding the opinions and attitudes of those who deal with them either theoretically or practically. Firstly, what, after all, is an ethnographic film, i.e. can we give that name to every video product or do we have to categorize different types of ethnographic visual products – for example to we have to distinguish between visual documents and films? Does an ethnologist have to be a skillful filmmaker, an expert in that field, if he/she wants to engage in visual media/film? And do we expect him/her to be equally adept in both audiovisual and written forms of expression?...

Film workshop

with: Ivan Dobran

The workshop will focus mainly on ethnological documentary, projections, discussion on films, as well as practical work and learning the montage software. The emphasis is on learning basic rules of film and a special attention dedicated to montage as a mode of expression. Within five days the participants will be introduced to different approaches to documentary film or will montage their pre-recorded material. ...

Knowledge, skills, crafts - film

Lecture, Mirjana Margetić

Knowledge, skills, crafts - film Documentaries are now an integral part of museum concept and presentation. Their application is the most useful in the presentation of intangible cultural heritage. Ethnographic Museum of Istria will include in its new permanent exhibition a number of films which present traditional knowledge and skills that are slowly disappearing (swaddling a baby with faš, traditional children’s games etc.). In this lecture I will demonstrate how these films are made, what comes prior to their filming, and in what ways can they be used in museums. Mirjana Margetić Curator-museum educator Ethnographic Museum of Istria, Pazin ...

MIŠKO PLAVI

Concert - Music Around The World Solo harmonica+loop sampler

Miško Plavi appears on the music scene in the early eighties. His copyright music contains the elements of the compositions of the other authors of various genres-from east to west, and is strongly influenced by the ethnic music from the Balkans. He took part in the creation of the New Wave and he had hundreds of concerts in Croatia, playing with various bands as “D Boys, “Piloti” and “EKV”. Since 2000 he composed music for Jean-Marc Barr’s films, published by Virgin Records. In recent years he has made a successful career in Japan with over 150 live concerts and with this same program. ...

Preservation of the Vlaški and Žejanski Language

Ana Montan & Robert Doričić

Ethnographic Museum of Istria, in cooperation with the association “Tragovi” from Rijeka, are currently conducting the project "Preservation of the Vlaski or Zejanski Language", launched in 2007. This language is facing possible extinction. The primary aim of the project is documenting the language, collecting all the materials related to its history and that of its speakers. Language is one of the most important forms of intangible heritage. One way of documenting the language is by making videos of different knowledge and skills (from cooking, traditional slaughtering and making souvenirs to singing), and, parallel to that, by recording specific terms related to those skills. Terms are often lost when a certain skill is no longer used, and the same happens to the language....

RETRO Jean Rouche

lecture, Bernard Surugue

Brenard Surugue, as a twenty years old man moves to Niger to become a music professor, where in the 1966 he meets Jean Rouch. An already well-known scientist and filmmaker invites Bernard to come with him on an ethnographic journey in order to study ritual music and the state of trance. Moving from village to village, together they film, using an Éclair 16 or Aaton camera and a tape recorder Nagra, collecting the symbolic and mythical imagery of Songhay-Zarma tribes. Since then, Bernard Suruge, emerged filmmaker and scientist, uses film to promote the social, economic and cultural development of poorest populations in developing countries. An author of some fifty documentaries, he is a principal of research at IRD (Institut de recherche pour le développement –Research Institute for Development). He also teaches a science film at the University Panthéon-Sorbonne. Together with Jean Rouch, realizes the film “Le rêve plus fort que la mort "(Life is stronger than death), elected at...

Sanja Puljar D'Alessio

selection comitee

Sanja Puljar d’Alessio obtained her B.A degree in Ethnology and Archeology at the Faculty of Humanities and Social Sciences, University of Zagreb. In 1997 she enrolled in the postgraduate study of ethnology and cultural anthropology at the same Faculty and in 2000 defended her M.A. thesis titled Lastovo Carnival in Film Media. Visual Anthropology Methods in Interpretation of Custom and Film Reality. In 2001 she enrolled in the doctoral study at the Faculty of Humanities and Social Sciences in Zagreb and conducted a research on Localization of the Global: Interpretations of TV Programs in Comparative Perspective. She obtained her PhD degree in 2005. Her scientific interest is focused on visual anthropology, primarily on theoretical problems of ethnographic film and production of ethnographic films. Dr Puljar d’Alessio is currently positioned in Italy (Naples) where she is conducting research on the reception of TV media in comparative perspective (in Croatia and in Italy), following...

Tanja Bukovcan

selection comitee

Tanja Bukovčan (1975) has been working at the Department of Ethnology and Cultural Anthropology, Faculty of Humanities and Social Sciences, University of Zagreb, since 2002 and she defended her PhD thesis at the same Department in 2008. Since 2004 she has been teaching at the same Department courses in visual anthropology which have been introduced for the first time into the study program of ethnology and cultural anthropology. She has participated in numerous international conferences (Sydney, Oxford, Honolulu, London, Londonderry, Krakow, Beč, Bristol), and she publishes scientific articles in relevant scientific journals. Dr Bukovčan is the member of EASA (European Association of Social Anthropologists) and SIEF (International society of ethnologists and folklorists). ...

Visualising Theory: A Film-Based Approach to Teaching Undergraduate Anthropology Courses

lecture, Slobodan Naumović

Films, as the most engaging representations of life available to humanity, must have a place in every educational environment where the objective is to develop a holistic understanding of human lives and cultures. I start my undergraduate courses with an introductory film which raises the general questions that we want to address in the classroom. I continue with films that question particular theoretical concepts. Together, we take the screened film as an approximate rendering of an actually or potentially existing field of forces, and proceed to analyze how can various theoretical concepts help in the understanding of depicted actors’ strategies and unintended outcomes of their struggles. The full potential of film for the “visualization of theory” is attained under the framework of what I call “visual workshops”, where the students edit their own clips from one or several films on an agreed topic, prepare historical contextualizations, analyze strategies of key actors and outcomes...