Anthropos: Anthropos, 7.1912

Mitteilungen aus dem Museum für Völkerkunde Hamburg, 23.1993 N.F.

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Monographie

Strukturtyp:: Monographie

Werks-URN (URL):: https://nbn-resolving.org/urn:nbn:de:kobv:11-719968

URN:: urn:nbn:de:kobv:11-719968

Persistenter Identifier:: BV049854193

Titel:: Die Projektionsapparate, Laternbilder und Projektionsversuche in ihren Verwendungen im Unterrichte

Untertitel:: mit 308 Abbildungen

Autor:: Hassack, Karl; Rosenberg, Karl

Erscheinungsort:: Wien ; Leipzig

Verlag:: A. Pichlers Witwe & Sohn

Erscheinungsjahr:: 1907

Umfang:: VIII, 336 Seiten

Beschreibung:: Pädagogik; Physik

Signatur:: Kunst 1819:F8

Sammlung:: Allgemeiner Bestand

Wissensgebiet:: Pädagogik; Physik

Kapitel

Strukturtyp:: Kapitel

Titel:: II. Abschnitt: Besondere Einrichtungen an Projektionsapparaten

Sammlung:: Allgemeiner Bestand

Keyan G. Tomaselli A Way of Reading Films About Apartheid Many film guides and catalogues exist on films/videos about Southern Africa. Apart from David Wiley and his colleagues’ Africa on Film and Video- tape, 1960-1981 (1982), and the University of Illionois Film Center’s Film and Video Resources About Africa (1985:1—5), few go beyond brief description of the titles and a listing of the awards they have won. Ways of making sense of content are offered by the two guides, but few offer broader conceptual or historical frames through which to understand the individual titles. Below, | develop a general contextual way of ‘reading’ documentary films like Maids and Madams (1985) and Biko: Breaking the Silence (1987). | show how context and crew assumptions reinterpret historical conditions into sometimes opposing social and political discourses. These in turn redefine the actual ethnographic and political events and contexts. These processes are also explained with specific reference to films about the San (Bushmen). Alongside critique of these films and videos | develop theoretical concepts to explain how and why these shifts in meaning occur. Form, Coding and Style Some film theorists argue that films can only be understood through an un- derstanding of their styles (Youngblood 1970). While this argument has much to recommend it, it cannot account for ‘aberrant’ or discrepant interpretations by viewers who lack an explicit knowledge of film or television. However, the visual nature of film or video ensures that even with these contradictions, people still make sensible inferences from what might be confused encoding in film theory terms. These inferences need to be understood in relation to questions of style. Most conventional documentaries propose their own specific form of inter- pretation or ‘readings’. Audience research, however, demonstrates that dif- ferent audiences, even from the same class, ethnic, cultural, language and national groups, often project their own idiosyncratic interpretations onto the same films. A film made to oppose racism may, as an example, be interpreted by racists as supporting their prejudice. Financial assistance of the Institute for Research Development (IRD) is acknowledged. A Fulbright grant was also awarded to the author in 1990 to assist in the pursuance of this research. 204

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Volltext: Mitteilungen aus dem Museum für Völkerkunde Hamburg, 23.1993 N.F.

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