Who can help me with my anthropology report double spaced undergraduate british

I ditched my oxford master s to give myself a better education nbsp

Close At the start of the academic year, it's perhaps unsurprising that there were six stories about education in one of the papers I glanced over on the underground.Education, and the future of it, is a hot topic in light of sky-rocketing tuition fees, coupled with a recession where even a first-class degree does not guarantee much in the squeezed job market.

Still, my decision to ditch an Oxford master's course after just one week required a little explanation to friends and family The quality of an applicant's personal statement is very important at LSE. The School does not interview for places so this is an applicant's only opportunity to demonstrate they are a good fit for the course. Applicants should consult the advice here, as well as advice from UCAS when preparing to complete this section of their  .Still, my decision to ditch an Oxford master's course after just one week required a little explanation to friends and family.

A short blog post , written to answer every concerned "But why?" caused more of a stir than I expected.I began to see more and more hits on the post; then I began to receive emails, tweets and Facebook messages from friends, and friends of friends, all in rallying support of my choice A brochure targeting senior academics will be written differently from one for prospective students. A/an   The film really affected me   She is my dependant. Double Spacing. • Once used in the days of mechanical typewriters, double spacing is now not necessary. Always use a single space after a comma and full stop..I began to see more and more hits on the post; then I began to receive emails, tweets and Facebook messages from friends, and friends of friends, all in rallying support of my choice.The decision to go against convention and perceived safety (at the price of massive debt) and select, instead, the big, bad, clinically depressed world of work had obviously struck a chord.The MSc in migration studies, a course offered jointly by the international development and anthropology departments at Oxford, attracted around 24 students this year.

I was one of just two British students footing a £13,000 course fee – far higher, of course, for the international students.It certainly wasn't the reading list that intimidated me; I had completed an English literature BA, reading one book outside the course for every one I read within it.It wasn't the intensity of a nine-month master's either; I had just returned to England after a year of working with a documentary film crew where days off were something other people were allowed to do.Plus, my decision to accept an Oxford master's place had not been taken lightly, but had been thought through publicly, online.

Through these conversations, I realised that Oxford holds an almost mythical position as the ultimate aspiration: with this stamp in your passport you can cross any border into any job, or so runs the assumption.

Ultimately, all of the doubts I had been so candid about were swept away with arguments as crude as: "It's only nine months!" and: "It's Oxford!" Yet, one week in, I changed my mind for reasons that, I think, might not be just about my experience, but could reflect a wider disquiet about the value of academic study.For me, there was a series of tipping points that ultimately argued against what had seemed like the sound investment in an Oxford education.■ We were at the top-ranking university, but this was only the second year of the course.So when the paper I had to present the following week was only available for me to retrieve from two London libraries, including the British Library, I hopped on a return bus to photocopy what I needed.Even my college librarian, helping me make sense of the situation, agreed this was "rather cheeky".

Prestigious university score: 0 ■ Tradition at Oxford is something you're not going to get away from.Fans of Harry Potter should all apply to walk the cloisters and enjoy a flutter of the heart when a gowned student sweeps past en route to a formal dinner.Unfortunately, I'm over my Harry Potter crush and have got into a nasty habit of attending events such as TEDxLondon – The Education Revolution, inspired by Sir Ken Robinson's provocative 2006 talk "Schools Kill Creativity" (which, by the way, has now been viewed 7 million times).The pull of this more fascinating world hit home when I realised I had double booked.Yesterday, I was due to matriculate, subfusc and all, on the day of an "unconference" dedicated to – what else? – the future of the university.

My subfusc-wearing prior engagement seemed pointless by comparison – I ended up at the "unconference".Cutting edge knowledge: 0 ■ One of the strongest arguments against staying on the course was having the door closed on my intellectual inquiry.I asked to attend some neuroscience lectures because I have an interest in bringing disciplines together to spark off each other.The department responded with an unequivocal no, I wasn't allowed to attend the lectures – they were for medical students only.Intellectual exploration: 0 ■ Trawling through job descriptions that filter by "higher degree" can be daunting, even with experience and internships plastered all over your CV.

I had applied to Oxford after just a few days on the job sites, thinking that this was the only way out.My application was successful, but I originally decided to defer for one year to work as the writer and producer for an independent film-making organisation, a job which took me to more than 20 countries.And do I really need a masters when work and networks such as Sandbox Network throw you into a world of precocious entrepreneur-types starting their own businesses in their 20s? Need a master's to get a job?: 0 Ultimately, what is the structured curriculum I am rejecting? What is a university? My father never went to university, but, in a simple aside, he mentioned what he thought the experience might be like.He described a place where people who have a passion for knowledge come together to discuss, and to teach each other, in a space where they are free to let their minds wander.

He imagined them as architects of the future, whose minds he trusted were being trained to do good things in the world.I felt that I had been a part of the space he was describing.But it hadn't been facilitated by university.Rather, it had been within networks of people who had come together to satisfy their own curiosity about a subject; creating their own spaces, virtual and physical, and inviting like minds to join the conversation.Topics Writing Style Guide Writing Style Guide This guide aims to provide an overview of our house style to ensure consistency across all our printed and digital communications.

Whoever you are writing for, use ‘plain' English and keep communication simple, direct and engaging.You should talk to your audience using ‘our' and ‘you' to draw the reader in, eg ‘Our degrees offer you the opportunity….' Consider who you are writing for and make sure your writing is pitched at the right level for them.A brochure targeting senior academics will be written differently from one for prospective students.A/an • Use 'an' before any word or abbreviation beginning with a vowel sound, including words beginning with a silent 'h' (hour, honour, heir, honest).

You use 'a' with consonant sounds (eg unicorn), including words beginning with an 'h' which are pronounced, such as history.Abbreviations and Acronyms • It is not necessary to use full stops in or after abbreviations where there is no likelihood of confusion: GCSE, BSc, BA, MA, PhD (unless at the end of a sentence).• When they appear in text, &, %, ie and eg should be spelt out in full as ‘and', ‘per cent', ‘that is to say' and ‘for example'.In tables, headings, or when you need to save space, the abbreviations may be used but not with full stops.• Use the abbreviated form of a title without explanation only if there is no chance of any misunderstanding, eg BBC.

Otherwise, the first reference to a name should always appear in full, followed by the abbreviation in brackets.For example: This course is taught by staff in the Climatic Research Unit (CRU).• For names with initials, we avoid full stops and spaces, so JK Rowling.Accents • We do not include accents in words that have passed into the English language, such as caf .

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• Faculties (Faculty of Science), Schools (Environmental Sciences), course titles (MA Theatre and Development) and module titles (Medicine and Gender), but not when referring generally to the study subject (for example: a good background in mathematics is essential).Century • 21st century, 20th century (noun); 21st-century (adjective), eg in the 21st century (noun);
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For example: The School of Biological Sciences offers courses in ecology, biology and study for the Master of Mathematics programme, you should have studied mathematics to at least A level.Use a capital when referring to a First, but lower case initial for first-class degree.Dependent/Dependant • She is my dependant Double Spacing • Once used in the days of mechanical typewriters, double spacing is now not necessary.Always use a single space after a comma and full stop.E-learning Email Faculty • The University has four Faculties: the Faculty of Science, the Faculty of use lower case when referring to faculty members.Fewer, Less • For non-countable nouns use ‘less': There was less wine than water.Government • The Government takes a cap if it refers to the present British Government; but a previous government takes a lower case initial.

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Historical Periods • Capitalise names of widely recognised epochsin anthropology, archaeology, geology and history:
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But lower case medieval, baroque and early modern.Honours • Use a capital letter when describing a specific degree course, BA Honours French or BA Hons French, otherwise – you will need a good honours degree Where to get an anthropology report Bluebook 20 days single spaced A4 (British/European).Honours • Use a capital letter when describing a specific degree course, BA Honours French or BA Hons French, otherwise – you will need a good honours degree.

Hyphenation • Required for compound adjectives, eg she is in her first year at university, her brother is a first-year undergraduate or the referee has a full-time job, he blew the whistle for full time.

Other examples: It is an award-winning, world-class department.The School offers cutting-edge research 15 Apr 2013 - However, most don't realize that dissertations are filled with lots of white space, e.g., pages are one-sided, lines are double-spaced, and the author can put any material they want in appendices. The actual written portion may only account for less than 50% of the page length. A single chapter may be 30-40  .The School offers cutting-edge research.• Do not though use a hyphen when the combination of words includes an adverb (words ending in –ly), eg strongly worded letter.• Use where same letters meet in adjacent word, eg film-maker.

Initials Internet International Telephone Style Inverted Commas (Quotation Marks) • Use single inverted commas, reserving double inverted commas for a quotation within a quotation and for direct speech.Italics • Use italics for titles of published books, periodicals, plays, films, paintings, newspapers and genus and species names in Latin.• Titles of articles and features in periodicals etc are set in Roman type enclosed in single quotation marks.• Use italics for foreign words, which have not become part of the English language.Job Titles Use lower case for all job titles, eg ‘he is the chairman of Microsoft', editor of the Guardian.

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• £10,000 not £10k, although £10k acceptable in internal documents.• Fractions are hyphenated as adjectives (one-third full), but not as nouns (one third of the population).The course runs for two years but it is a two-year course.

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etc Schools of Study • When referring to the University's Schools (because of the possible confusion with secondary schools) capital S for School of Study or Schools of Study.Spelling -When I first moved to Rwanda, I was not sure what to expect.

It was March 2015, and I was moving in with my boyfriend in Kigali.Of course, I knew the city would be clean and green.I had heard countless success stories about economic development, and inevitably, I knew a lot about the genocide.Still, I felt like there was so much more about the city that I would soon discover… So I went with an open heart, without much expectations, ready to learn more about the local culture, and most importantly, meet the people who make the place.I let myself be surprised by the sights and smells, the colours and sounds, the foods and traditions, and the little things of everyday life.

A ‘Kurema Kureba Kwiga’ mural addressing the stigma of positive living and HIV/AIDS in Kigali.Soon, I started meeting artists, musicians, fashion designers, dancers, photographers, and what not.What they all shared in common was a strong drive to use their art to bring about positive change in the country, a determination to challenge mentalities, move forward and grow.They also wanted to put Rwanda on the map.Most were young, and self-taught with such ambition that their presence alone made me feel inspired.

Some were born in Rwanda, others were Rwandans from the diaspora who had decided to move back in the last few years.When talking about their respective art, or when practicing, they had sparkles in their eyes.Interviewing the young photographer Jacques Nkinzingabo.Yes, it is them who touched me the most.

They inspired my writings, and made me want to grab my camera as fast as possible to create together with them.Even now, writing this article from my living room in Brussels, I am realising how much I miss them.I strongly believe that art is a universal language that brings people together.It is a powerful tool to communicate at an emotional level with the people within your own culture, but ultimately, it transcends all cultural boundaries.Art speaks directly to our shared humanity.

It is through the arts, thus, that I felt most connected to the Rwandan youth.Krest Crew dancers practicing at the Kimisagara Youth Centre in Kigali.In Rwanda, I lived the life of a writer and visual anthropologist, writing about the arts and culture scene, about the people who inspired me, and working on my baby; a documentary film called ‘RWANDArt’ that I directed and produced.This documentary is born from a strong desire to show the beauty and creativity of the people who make the place, and to document the early stages of the creative industry with all its challenges and opportunities.It is the result of my everyday interaction with young and talented Rwandan creatives defying traditional conventions through music, dance, fashion and art.

There is no voice over in the film, a deliberate choice I made to give artists the space to speak for themselves.Also, I collaborated with local talents for the original soundtrack, cinematography and post-production work.Mike Kayihura, a self-taught R’n’B and soul artist, on stage.I could fully relate to what artists were speaking about as this was also my experience in the country.Challenges were shared and common in the industry.

Many kept trying to convince you to get a ‘real’ job, thinking that art could only be a hobby.Professionalism was sometimes lacking, as were the schools to learn the skills, and what not.But even though challenges were real, as in any other country actually, creative entrepreneurs were determined not to give up.

Where there were challenges, there were also opportunities.Chris Hirwa, the hip hop dancer who uses his art to improve the lives of orphans and street kids.The fact that the industry had just started two, three years back from the start of my filming, meant that there was so much room to create since not much had been done yet.You could do whatever you set your mind to.

You could truly innovate, and see the results of your work.

In fact, opportunities were endless, and outweighed all the challenges.The country was growing at such a fast pace.Things were truly moving in such positive ways, and the youth had understood very well that innovation and creativity are key elements in promoting a country’s economic and cultural development.Bruce Niyonkuru, the talented contemporary artist standing in front of his work.

It premiered in Kigali at the Rwanda Film Festival, and was then screened in other countries.I am extremely grateful for the positive feedback it received so far, but more than that, I am grateful for all the laughter, friendship and trust to enter the creative circles, the long hours of work until sunrise, and even the occasional sorrows.This documentary film is truly about the people; the Rwandan creative youth that is the new face of the country.When you look at them, full of passion, dedication and ambition, it becomes clear that the country has a great future.

Personal statement lse

————————————-Sarine Arslanian won the Hugh Brody Runner Up prize for a project on Armenian music in London that she did as part of SE555 Visual Anthropology Project.You can learn more about what she has done since graduating with a BA in Cultural Studies and Social Anthropology on her website.Etymology-(coined in Canterbury 2017) a synthesis of care, motion, emotion, motion picture and commotion The style guide is intended to be read as an interactive PDF, where it can   close up spaces and don't use full stops in abbreviations (eg 6pm). • use lower case   All's Well that Ends Well is my favourite play. 'Will You Still Love Me Tomorrow?' was a hit for the Shirelles. 'Help!' was covered by Bananarama in 1989..

Etymology-(coined in Canterbury 2017) a synthesis of care, motion, emotion, motion picture and commotion.

This year’s screening and celebration of our final year visual anthropology projects was a tremendously rich experience.Many of the people in the films attended and contributed to the discussions and Q and A.After each series of projects the audience had the opportunity to share their impressions in small groups before directing attention to the filmmakers.Our discussion started from the filmmakers making observations about the connections between their films and what it was like to see it on the big screen.This blog post includes audio of the Q and A, photos and presents the prize winning films at the end.

For more information some of the films have websites.There you can explore and find links to the films.The first series of films dealt with student life, study/work balance challenges, university choice and mutual support.Portrayal – a depiction of someone or something in a work of art or literature; a picture Trail – a mark or a series of signs or objects left behind by the passage of someone or something.This year’s screening of fourteen final year visual anthropology projects took us on an afternoon long journey with the portrayal of groups or particular people as a common theme.

We were very happy to welcome Dr Virginia Pitts from the School of Arts as a new judge to award aprize in her name.She has a remarkable wealth of experience in practice-based research projects developed in part out of her career in British and New Zealand film and television industries.You can learn more about her research, creative work and very popular teachinghere.Having held many roles in documentary and television drama production we were very curious what she would make of video productions made by students doing all the preparation, camera-work and editing themselves.We also welcomed back Professor Hugh Brody, who has been a stalwart supporter of our screenings for many years.

He is Canada Research Chair in Aboriginal Studies at the University of the Fraser Valley as well as being an Honorary Professor here at the University of Kent.His films and publications have have been hugely influential in engaging with contemporary indigenous peoples’ challenges.His most recent project, ‘Tracks across Sand’, is an interactive DVD project focussed on the first Bushman land claim in South Africa containing some remarkable archival footage and resources now shared across the whole continent.More recently he has been working on a video project in ‘the Jungle’ in Calais.Student productions were shown in groups with the opportunity of a joint Q&A at the end of each screening.

To hear a review of all the films by Professor Hugh Brody, the prizes being awarded and see the prizewinning films scroll down.For a taste of each of the films see our trailer:Christina Stavridi & Calum Rolfe during the Q&A for their films.Screenshot of Casey Harris’ ‘Bibliophile’.Lissa Davies, Sofia Krirstinsdottir, Mariana Tarvainen, Rebecca Giannecchini during Q & A.

On left- Justin Gilday (the Protagonist of ‘The Cast’) Lissa Davies, Sofia Krirstinsdottir, Mariana Tarvainen, Rebecca Giannecchini during Q & A.On left- Justin Gilday (the Protagonist of ‘The Cast’) Justin Gilday (The Cast) shares the powerful experience of working with Lissa Davies.Christopher de Coulon Berthoud responding to a question about his film.Professor Hugh Brody sharing his impressions of the films.

Soffia Kristinsdottir receives the Runner-Up prize for the Hugh Brody Visual Anthropology Prize.Richard Murray receives the Hugh Brody Visual Anthropology Prize on behalf of Johanna Nyloy and himself.Professor Michael Fischer awards the Public Engagement Prize on behalf of the Lynn Bicker Foundation for Rebecca Giannecchini.Soffia Kristinsdottir receives the Virginia Pitts Runner Up Prize.

Dr Virginia Pitts speaks about the two prize winning films.

Lissa Davies receives the Virginia Pitts Prize.Soffia Kristinsdottir receives the joint audience prize from Dr Daniela Peluso.Tomoko Obata receives the joint audience prize from Dr Daniela Peluso.Marianna Tarvainen receives the Virginia Pitts runner up prize.Virginia Pitts asks a question during the Q&A.

Last year Hugh Brody Visual Anthropology Prize winner, Joe Spence, to her left.Robert Frank commented that ‘ photography must contain the humanity of the moment.’ What better combination then than photography and anthropology? In their final term year some visual anthropology students at the University of Kent have combined the two to explore different aspects of contemporary life, from the experience of refugee children in Kent, the use of body art as political expression, and the movement of seafood from ocean to stomach.With unique insights into aspects of life, these projects explored the humanity of the moment, a selection of which is displayed below.The photographs are part of the wider exhibition of visual projects that came out of Kent this year, and continue the tradition started by previous year’s projects: Inter-reflexions; Peopling Places; and Self Spaces.

 You can scroll through the photos and project descriptions by clicking on one and then using the arrow keys to navigate.Art & Anthropology: How a Painter Challenges Ethnocentrism – Louis Mills Art & Anthropology: How a Painter Challenges Ethnocentrism – Louis Mills Art & Anthropology: How a Painter Challenges Ethnocentrism – Louis Mills Art & Anthropology: How a Painter Challenges Ethnocentrism – Louis Mills Art & Anthropology: How a Painter Challenges Ethnocentrism – Louis Mills Art & Anthropology: How a Painter Challenges Ethnocentrism – Louis Mills From Sea to Stomach – Rowan Twine, project description From Sea to Stomach – Rowan Twine From Sea to Stomach – Rowan Twine From Sea to Stomach – Rowan Twine Xenitia – Danae Elston-Alphas, project description Androulla’s grandfather’s identity card; Cypriot farmer and British Subject Androulla Satanas’ first travel document, her British Passport Xenitia – Danae Elston-Alphas Photos exchanged between England and Cyprus Photos exchanged between Cyprus and England Letters From Home: from Anroulla’s brother during the 1974 war Portrait of Anroulla Satanas By James Kloda The introduction from film-maker Hugh Brody to this year’s screening of ethnographic projects made by the undergraduate and Master’s visual anthropology students suggests a liberation of authorial voice to articulate its subject through a cinematographic medium: indeed, many of the shorts that were screened were free from an imposed agenda, telling moments revealed through shrewd observation and unforced technique.Charlotte Austwick’s Welcome To The Country looked at the rural community that she grew up in, and the reaction of locals to the increasing influx of urbanites relocating there and the prejudices they hold against parochialism.There was a pleasingly sardonic wit expressed by the film-maker (an interviewee bemoans city slickers invading the countryside that cuts to an axe chopping a log), and her father proved an eccentrically entertaining character, sighing when he recognises the look of piqued curiosity exhibited by outsiders toward them (“Oh, they’re going to want to talk about the locals again…”) and recounting tales of their prurient fascination at seeing such ‘marvels’ as peas growing in the wild.But, despite justified grumblings from the villagers, there was admitted compromise in the fact that those accustomed to city ways are more prepared to pressurise local councils regarding maintenance of facilities.

Austwick’s film could have perhaps benefited from the point of view of an interloper, to see what visual and behavioural contrasts exist between the two types of inhabitant, but, overall, it was a work of warm confidence.Anastasia To, Harrison Holt, Charlotte Austwick and Kate Al-Khalili take questions from the audience.Rachel Downes poses a question to the four filmmakers.Communities featured prominently in the next array of films, from the University’s diverse religious fraternities to a busy indoor market in Leicester, via a Cosplay conference in London.Kate Al-Khalili’s The Community Within Religion observed ritual, be it a baptism or Muslim prayer session, with intimacy, her camera genuflecting with prayer-goers and close-framing the various groups, highlighting the bond between them.

Yet there was also the occasional flash of the pragmatic limitations of open-armed welcome: the RC chaplain at the University of Kent opines that he couldn’t physically cope if too many students came to the institution for Catholic foundation.Anastasia To’s Muchly Needed captured the multicultural diversity that still thrives in a fish market with a vibrancy of colour and contrast, reflected in the choice of interview subjects and close-ups of the wide variety of fish for sale.The choice of location was inspired, as many customers related to the piscine wares as a connection to home, a demand for domestic staple fuelling supply of increasingly exotic fish, which led many to recount family anecdotes of fish preparation and styles of cooking to the camera.Cosplay, filmed by Harrison Holt, asked a number of people why they participate in costuming: a means to overcome shyness; an antidote to bullying; providing outreach for disadvantaged community groups.What was striking was the static poise that cosplayers exhibited when Holt filmed them, as if waxworks in a gaudy gallery.

And there was something sneakily subversive about including footage of them drinking Coca Cola or eating a Subway: for all the flamboyant esotericism on display, the cosplayers still chow down on junk food, a symbol of homogeneity if ever there was one.Hannah Evans’ mother, father and sister (centre).The next collection of films were individual portraits that often revealed more about the film-maker than their subject.Hannah Evans’ About Dad fulfilled a desire that most of us have: to put our parents in the spotlight at the mercy of our interrogation.But her father Jeremy proves an elusive figure, disarming Hannah with a banality of recollection when she asks him what his favourite memories are of her or matter-of-factly recounting details of his brother’s death, a story that an audibly upset, off-camera Hannah hears for the first time.

If the presence of a camera can open up its subject, the revelations that this affords are not always easy to swallow.With Time To Use also focused on a father, one who has taken an early retirement yet is becoming increasingly restless.Alex Astin’s frustrated insistence that his father sit back, relax and enjoy his well-deserved fallow period instead of obsessively busying himself subtly articulated an irreconcilable generational divide, made poignant by inserts of the tide ebbing and flowing on the beach that Astin Senior’s house overlooks, potent metaphors for what time there is to use.Lucinda Newman’s Portrait Of A President followed the student president of Canterbury Homeless Outreach as she discussed the voluntary work that the group do.Impact softened by prolonged imagery of the subject smoking and playing guitar in the sunshine, presumably to suggest what a free spirit she is, and no footage of or interviews with the people she helps, the film nevertheless provided a saddening expos of NIMBY (not-in-my-back-yard) council attitude, that homeless people should be moved on to another place for someone else to deal with.

This revelation was all the more powerful for its organic emergence in Newman’s conversational approach.Hannah Evans, Alex Astin and Lucinda Newman The peripatetic subject of Anna Bettini’s Reflessioni On The Go ambled around Canterbury’s Westgate Gardens and High Street, as his thoughts on the differences between his native Sardinia and Britain were narrated through voiceover.Whilst delineating the British stereotype that he has experienced, his comments reinforced popular notions of the Italian temperament, whether announcing that “British people give credit to our level of learning and knowledge” with blithe hauteur or detailing how quick his fellow countrymen are to make a scene in the workplace as opposed to the polite placidity of their UK counterparts.If the imagery often seemed superfluous to the pre-recorded interview (frustratingly we do not hear his comments when in front of an Italian war memorial in the city), Bettini revealed her strategy in the closing moments: since staying in Canterbury, and despite the cultural differences good or bad, he feels a closeness to his current location, as a ‘second home’ to the one of his birth, the constant roving reflective of this transition.Cirque de Curiosite With so many quiet epiphanies, the final three shorts displayed a direct confidence with both style and examination.

Rachel Downes’ Cirque de Curiosit had little to say about its titular cabaret company, their filmed acts intercut with rather conventional interviews.

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However, the acts themselves were a marvel of montage and colour, the febrile intensity of performance captured through swathes of neon, pulsating editing and multi-angled curiosity.And, for the interviews themselves, Downes made dramatic choice of camera position, filming jugglers from a high gantry or, bravely, right underneath them, the camera lens in danger of destruction should a ball stray from its controlled rhythm.Telling Secrets began with its maker and subject, Simon Holt, attempting to light candles on a birthday cake that become continually extinguished: in a droll cut, it is revealed that this is because the table is positioned next to an electric fan Undergraduate Journals Council on Undergraduate Research.Telling Secrets began with its maker and subject, Simon Holt, attempting to light candles on a birthday cake that become continually extinguished: in a droll cut, it is revealed that this is because the table is positioned next to an electric fan.

Holt chose to make a film about his prior struggles with depression and is candid on camera about his feelings.

But it is the facility with visual metaphor that distinguished this piece, that opening image profoundly resonant through its deadpan simplicity.A therapeutic experience, for both Holt and the audience A multi-disciplinary research community offering a space for exchange of information regarding events, seminars, relevant literature and recent publications relating to Home and Sexuality. The philosophy of the network is to create a dialogue between academics and post-graduate students and members of the public  .A therapeutic experience, for both Holt and the audience.Wrapping things up was Joe Spence’s Our Patch, a documentary about a farm in Herefordshire that doubles as an animal rescue shelter and a centre for people with special needs.Spence’s warmth and empathy with his subjects was touching, his camera drifting out of focus briefly as the owner of the farm becomes moved to tears, a moment of discretion to his subject but one that also elicits a similar response in the audience, the image welling up through a subtle lens shift nbd-dhofar.com/homework/where-to-purchase-an-agricultural-technology-homework-premium-american-business-originality.

Spence’s warmth and empathy with his subjects was touching, his camera drifting out of focus briefly as the owner of the farm becomes moved to tears, a moment of discretion to his subject but one that also elicits a similar response in the audience, the image welling up through a subtle lens shift.

It is moments like this that film does not only rescue anthropology, but delivers us all from the confines surrounding us, be they social, emotional or familial.

Professor Hugh Brody Sarine Arslanian, Visual Anthropology student from 2012, reports from Jakarta and shares her latest documentary.With the support of the Center for Public Policy Transformation, Sarine Arslanian explores through documentary the social and economic dynamics of life in the slum areas of Bukit Duri which have been overlooked in the current relocation strategy implemented by the government as a measure for flood prevention.Her documentary also examines the bureaucratic and environmental challenges, and alternative approaches to make the plans more sustainable on the long term.Sarine won the Hugh BrodyVisual Anthropology Runner Up prize for her film ‘Connecting Strings; Armenian Spirit in Music’.Since graduating from Kent in 2012, with a degree in ‘Cultural Studies and Social Anthropology’, my passion for travelling, discovering new cultures, learning about people, languages, customs and cuisines has taken me to various places around the world.

For 15 months, I travelled throughout Latin America and South East Asia, where I was trying, as much as I could, to experience new places the way the locals do.Taking an anthropological perspective in producing development-related documentaries has been something I have been aspiring to ever since I took the ‘Visual Anthropology’ class in Kent.Hence, I decided to return to the UK to pursue a masters degree in ‘Development Studies’ at the University of Cambridge.After graduation, I moved to Jakarta, Indonesia, where I have been living since.I am now working as a researcher for a local think tank called Transformasi, exploring the socio-economic impacts of public policies in the country, through visual means.

A year ago, if you had asked, I would never have thought about Jakarta.But the think tank I work for has some connections with the Centre of Development Studies at Cambridge and I received an email about this position a little before graduation.The job description looked amazing, especially as it involved producing documentaries based on my research.So I thought, why not move to Jakarta? 🙂 I wasn’t expecting to love the city so much! It’s a hectic city with a lot of pollution, and traffic, but there is always something interesting going on.The movement, colours, smells, people,food, cultural diversity etc.

I have had countless amazing experiences, especially with people in rural areas and slums, but also more ‘disturbing’ but memorable ones, such as experiencing kerokan; a traditional massage to let the wind flow out of your body – someone rubs a coin across your back so hard that you end up with ‘tiger’ stripes, having my roof fall in my room and my room flood, also pushing a bike through flood water, etc. It’s basically a love and hate relationship that is making me love the city even more.I have produced the documentary ‘The Reality of Ciliwung People in Jakarta’, which explores the social and economic dynamics of life in the slum areas of Bukit Duri which have been overlooked in the current relocation strategy.It also looks at bureaucratic and environmental challenges, and alternative approaches to make the relocation plans more sustainable on the long term.

I could never be thankful enough to Mike and all the wonderful people I met in my ‘Visual Anthropology’ class at Kent.The experience I gained both in the classroom and while filming and editing my first documentary ‘Connecting Strings; Armenian Spirit in Music’ is invaluable.It taught me culturally sensitive research skills, and the more technical and practical aspects of filmmaking that I am now applying in my current job.I will be working here until the summer, and planning to produce one or two more documentaries until then!#homelessyouth #appliedanthropology Carin Tunaker is a PhD student in social anthropology at the University of Kent.Her research examines the conditions and circumstances that contribute toward LGBTQ youth homelessness in East Kent.

Carin and the co-director for this project, Prem Konieczny from Porchlight, used participatory film-making as a research tool for this project.Below she explains the process and the outcomes both for the young people and for her own research.The film was a project by and for young homeless people living in Porchlight’s young persons’ services in Canterbury and Tonbridge.It follows three young people, Josh, Shaunagh and Michael, through their journeys as homeless youth living in hostels in Kent.In making this film, they wanted to show people that being young and homeless isn’t always what you think it might be; they wanted to challenge negative stereotypes of homeless people and show what the ‘reality’ of homelessness is, for them.

The Idea There were never any grandiose intentions for this film project, it simply started out with me, as a Support and Resettlement worker in Porchlight, asking the residents in the project where I worked, to sit down and brainstorm with me about perhaps making a film on homelessness.I had little hope of engagement and excitement about the project, because engaging young people who are going through a traumatic time in their lives in something as time consuming as making a film, seemed a distant and optimistic idea.But after a few false starts, one young person, Shaunagh, who had done a course at college in film, decided she felt confident enough to take the lead and motivate others to join in too.All in all, around 15 young people from Porchlight took part in the process of making this film.There was one simple guideline: the film had to be about homelessness.

Young people from Porchlight interviewing passers-by on the streets of Canterbury After careful consideration, the girls decided that they wanted to make a film about youth homelessness, to show people what it’s REALLY like.They often hear homeless people described as rough sleepers, dirty beggars, drug or alcohol misusers and generally a drain of society’s resources – descriptions that they felt do not fit them in any shape or form and they wanted to challenge this.So then they had to figure out HOW to make their point.Initially, they thought that just filming different activities and doing a general tour of the hostel would be enough, but it wasn’t long before they realised that they needed some hard evidence of people’s ignorance and misconceptions.

Reluctantly, all agreed that they would need to go into town and ask the general public for their opinions – on film! The Process We borrowed equipment from the Visual Anthropology programme at the University of Kent, but at first, nobody wanted to touch the camera and nobody wanted to be ON camera, which gave a bleak outlook for the entire project.To take the pressure off, I decided to keep the camera in the hostel’s office and told the service users that they could wait until something ‘interesting’ happened and come and get it when they felt inspired and wanted to use it.Eventually they did take the camera away and returned to me with it full of footage of interviews that they had done with each other on their ideas of youth homelessness.Most was not useable because of issues with sound and/or image, but because they had now broken down the barrier of fear of the camera, the film project could now mature into something that they felt capable of taking ownership of.Amy performing the music for the opening scenes of ‘Homeless Youth’ Week by week, they got more and more confident with the camera and eventually we could have a session talking about HOW to use the camera, what to think about in terms of positioning of the subject, background noise and other technicalities.

Keeping the camera on site for ‘interesting’ moments turned out to be a much better idea than trying to produce interesting moments on demand, so this is how we proceeded.All the service users taking part were dealing with issues of their own during this time period, such as difficult family relationship problems, depression, self-harm, problems in college, trying (and mostly failing) to find work, relationship problems and so on.These, of course, took precedence, so finding ‘good’ days to film was always a challenge.Eventually, despite personal fears and inhibitions, a group of our young service users took to the streets of Canterbury and bravely approached strangers to ask them what they thought a homeless person looks like.

The replies were shocking and showed exactly the kind of negative stereotypes that they were expecting to hear – and worse! There were comments such as homeless people are dirty, disgusting, smelly, have a lack of personal hygiene, and (a personal favourite), they always have long hair (!).

While filming in Canterbury town centre, I started out as the cameraman, since nobody else dared to do it, but after a few of our interviews, confidence grew in the group and eventually everyone had a go at either asking questions or holding the camera.Film as Method Screenshot from the film at the first official screening.Josh is talking about what he thought a hostel would be like before he had to live in one himself Most of the filming was done by the young people, but my colleague Prem Konieczny (who edited the film) and I also did some.I took the camera with me to any activity I did with the service users and rigged it up for some group discussions as well, for which I asked the questions.I had my own agenda for this film project: I wanted to get the service users to engage in meaningful conversations about their ideas of what ‘home’ is to them, and what ‘homelessness’ actually means, which in turn would inform my own research into youth homelessness.

A lot of the conversations ended up far less serious than intended, with more banter and jokes than thoughtful ideas; breaking through this hurdle of protective chitchat was quite challenging.One of the more successful ideas was to put the questions up on the wall behind the camera and allow the service users to speak freely about them, rather than me probing and asking questions directly to them.This somehow seemed to give them more power over the conversation and removed the teacher/student aspect that can sometimes feel more like an interrogation.By allowing the service users to be in charge of this project, not only did they get a huge confidence boost themselves and learned a great deal in the process, but it was also a method for me to open different channels of thought and reflection from them, as opposed to normal casual conversations or interviews.As an anthropologist in the hostels, I had spent significant time trying to get them to talk about these concepts in general conversation and interviews, with mixed results.

Suddenly, with them in charge of the camera and their own voice, they felt the need to put words to their thoughts in a way that was never necessary in my previous inquisitions as ethnographer and fieldworker.Rouch, in his 1973 essay ‘The Camera and Man’, couldn’t be more right when he said that “The situation is clearly this: the anthropologist has at his disposal the only tool (the participating camera) that offers him the extraordinary possibility of direct communication with the group he studies-the film he has made about them.” Two of the girls that took part in the project ‘staging’ a game of badminton for the camera in the hostel’s garden I never had any intention for ‘true objectivity’ or a search for the ‘truth’ for this film, if ever such a thing existed (Pink outlines this debate well in the introduction to her book Doing Visual Ethnography).As Vertov’s concept of the ‘cine-eye’ dictates, my own intent and actions inevitably shaped this film. However, as Rouch advocated, I did engage in ‘audiovisual reciprocity’ where the participants were a part of the process, from start to finish: the service users that took part in this project had a say in what the film should show; the participants “staged” the reality that they wanted to portray publicly.

In a way, it feels like fulfilling the dream of Jean Rouch, when he said that this type of ethnographic filmmaking will help us make a ‘shared anthropology’; “Which is to say, the time of the joint dream of Vertov and Flaherty, of a mechanical cine-eye-ear and of a camera that can so totally participate that it will automatically pass into the hands of those who, until now, have always been in front of the lens.At that point, anthropologists will no longer control the monopoly on observation; their culture and they themselves will be observed and recorded.And it is in that way that ethnographic film will help us to “share” anthropology.” Editing Chelsea and Zach interviewing Shaunagh for the additional footage they felt was missing from the film at editing stage Once the filming was done, Prem and I started the painstaking process of sieving through hours of footage, much of it unusable, to find the hidden gems – footage of the service users interviewing each other and thinking seriously about their own situations, about homelessness, about being young and living in a hostel, about their potential futures, hopes and dreams.We constructed a rough draft of the clips and invited the service users to the Visual Anthropology lab at the university to watch the draft film and comment.

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They deemed the film inconclusive, and a bout of new shooting ensued.They had a clear idea of the direction they wanted the film to take, so they constructed interviews with each other targeting the information they felt was missing.This part of the project was truly inspiring, since at this point the service users had really taken charge of their own film and displayed a proud ownership of it 15 Feb 2013 - Choosing a topic: The module convenor for Archaeology in the UK: Research and. Professional Practice   both Dissertation in Archaeology and Extended Essay in Archaeology) will be sent to all students via e-mail.   quality A4 paper, with 1½ or double spacing, or its equivalent in amounts of leading. 2..This part of the project was truly inspiring, since at this point the service users had really taken charge of their own film and displayed a proud ownership of it.

The young people that joined us in the Visual Anthropology lab had mostly never visited a university and never thought they would ever do so either, and after the end of this some had grown aspirations for taking up study and possibly even continue onto university to pursue a career in filmmaking, grades permitting.Seeds of hope and possibilities were sown and self-esteem grew and blossomed in a way that you could almost see and feel.

It all culminated in a cold but sunny afternoon at the UKC campus, where some final shots were done in the UKC campus’ labyrinth Who can help me write report anthropology at an affordable price double spaced Chicago Doctoral US Letter Size.It all culminated in a cold but sunny afternoon at the UKC campus, where some final shots were done in the UKC campus’ labyrinth.“The the maze totally symbolises everything about this film, about us and what it is we want to say!” I was a mere bystander while Shaunagh walked through the labyrinth, making her way to the centre, through the maze of paths, filmed by her friends from the hostel.The shot captured the apogee of the film project, where the service users thoughts and realisations met in the middle of the maze, expressed by Chelsea who exclaimed in realisation: “Hey, the maze totally symbolises everything about this film, about us and what it is we want to say!” Finally we added the music how to write a engineering lab report British 10 days APA.The shot captured the apogee of the film project, where the service users thoughts and realisations met in the middle of the maze, expressed by Chelsea who exclaimed in realisation: “Hey, the maze totally symbolises everything about this film, about us and what it is we want to say!” Finally we added the music.Porchlight had for some time collaborated with an agency called Rhythmix, who visited our hostels to teach our young people to make their own music.‘Ike Boi’), who appears in the film as one of the main characters, provided most of the music that he had created together with Rhythmix, and another service user Amy provided the songs for the start and end credits with her own wonderful talent.The Screening Carin Tunaker at the screening of ‘Homeless Youth’ at the University of Kent, November 2014 It took over a year for the film to make its way from the end of filming to the finished product.In that year, our service users moved on, moved out, and quite possibly forgot temporarily about their experiences as filmmakers.

Unfortunately some made themselves un-contactable as well (purposefully or un-purposefully), so they missed the opportunity to see the film in its finished form, screened at the Lupino Screening Room at UKC in November 2014.Those who came told us they felt very proud to have taken part in something like this.They spoke of their hopes for futures in the film industry – they want to send the film to the BBC and E4, and some hope to start careers in singing and/or film.In the least they want to pass the buck to other young homeless people now living in Porchlight’s hostels, for them to continue with ‘Episode Two’ of Homeless Youth! Amchi is an observational road trip documentary, about an idealistic Tibetan doctor Amchi Karma Chodon journey with her five month old baby Teljor into the Himalayas of Ladakh.Amchi and her son Teljor, on their way to raise awareness and conduct a final course with her students on women and child healthcare.

In the film Amchi Karma goes to Zanskar, the most remote region in Ladakh, to give a final revision class for her graduated students on women and child-healthcare.Before she reaches to her final destination she stops by at Tso Moriri, the highest lake in Ladakh near Korzok village to find the Changpa nomads so to give them an awareness campaign on preventive women and child healthcare.The film raises concerns over the protection of the medicinal plants which are under great threat due to climate change, overgrazing, unscientific exploitation and questions the future of the young amchis, as Tibetan Medicine if not supported by the government and its own people, is a tradition under the threat of extinction.Amchi Karma Chodon a Tibetan refugee and a prior nomad herself, holds the Katchupa diploma (Tib.dka’ bcu pa), which she received from the Central Institute of Buddhist Studies, Choglamsar.

She is the main professor during the Dusrapa training (4 years education program for Tibetan Medicine) at the NGO where she currently works for in Ladakh Society for Traditional Medicines (LSTM).She has been a social worker for the last thirty years of her life, in which in between she ran a clinic for sometime in Leh.Her skills and knowledge have given her the opportunity to travel to England, Switzerland and France, where she has given lectures and treated European patients as well.Amchi Karma Chodon and Amchi Namgyal at Korzok Village with the Changpa people near Tso Moriri Lake during the women and child healthcare campaign.

It was during my time at the NGO (2012) where I was assisting the program coordinator on financial and administrative issues where Amchi Karma suggested that I come and travel with her,to understand better what they do.

I was delighted by her offer and made some funny dance moves out of joy.Amchi and her eldest son, a 14 year old Monk who came for a visit from DehraDun, laughed out loud.She observed that I was just like her son.This little brief dialogue was the beginning of my very meaningful friendship with this very intelligent and courageous woman, who’d play a major role in my spiritual, mental and personal development in the following months.I felt extremely fortunate, that I was there with her to film events as they happened.

As a team in LSTM we had the idea to use some visual clips for fundraising purposes.Also, Amchi Karma Chodon wanted to interview her students’ for their feedback on the courses she had given to them and she wanted them to raise their voices on the difficulties they faced while treating patients.So initially we used visual material solely for research and documentation purposes.Although I did not speak and understand a word of Bhoti language, I had this strange instinctual feeling that I should be filming any detail that I was allowed to by the Amchi, students and the people.We actually had no time to even set up a tripod, as we were on a constant move and had lots of work to do to carry out the awareness campaigns.

We would carry them out in two to three different villages a day and would go to sleep by midnight and wake up early the next morning, to carry on.Landscape of Zanskar, early in the morning on our way to the gompa with Amchi Kanji.After a very challenging, exhausting and yet a life changing experience of 15 days travelling in Zanskar (October 2012) together in very difficult conditions.Horrible roads and flat tires were the least of thechallenging issues we faced.Amchi Karmadiagnosed me with a minor inefficiency problem in my left kidney that was probably triggered by the high altitude, an illness that was hidden in me for long.After a week of trying to recover in Leh, which was quite difficult as the weather got extremely cold, dropping down to minus 15 degrees at nights, I had to fly back to Delhi, and later on had to go back to my home in Istanbul.I insisted on using Amchi Karma’s prescribed medicines for 52 days, and I was entirely cured within two months.The doctor in Istanbul couldn’t believe how effective the medicines she gave were, in the beginning the doctorjust laughed at me, and insisted that I take Western medicine just in case.Amchi Karma and her students in the class at Amchi & Astrological Centre in Zanskar.

But I knew that this was not a mystical recovery, the medicine I used was based on a thousand year old heritage, and on medicinal plants that would grow only on the high altitude of the mighty Himalayas, ancient scripts based on astrology, prayers and hundreds of trials and enhancements made on it.There was nothing for me to be surprised about.The surprised doctor keenly watched the film and admitted that there was a lot for him to learn from holistic medicine, which is exactly what LSTM strives to achieve by bringing together Tibetan Medicine with Allopathic medicine in India.Amchi Karma’s student conducting women and child healthcare awareness campaign in her own village in Zanskar.So after I became better, I sat down to watch the recently transcribed material we had, and I could not believe my eyes that there was a very satisfying and natural scenario to it.

After asking for the full consent and permission from Amchi Karma I proposed to turn it into a film.All I did was to bring things together as they happened and ask to my favorite two-world famous Tibetan musicians Tenzin Choegyal and Ani Choying Dolma for consent four soundtrack to their beautiful songs.Both said yes, and have granted their music with great generosity.It actually took me a whole year to decide what to do about the film, whether I should have gone back to Ladakh to improve the film or should I just be going on with what I was gifted for the time I was granted there.I followed my inner voice and decided that I should follow the amateur in me.

I decided to keep the film as sincere and simple as possible and let go of my desire to improve it artistically.That would have been another year of struggle, and might have complicated my relationships with the people out there if I went with a professional team of cameramen.After I made up my mind, it took me only four months to finish the editing myself.I needed no color or sound correction as what I had was absolutely beautiful thanks to the serene landscape and good fortune we had while filming randomly.Amchi Film Poster It was also remarkable that I finally recovered from my illness during the post production process so I decided to put an explanatory sentence under the title AMCHI, “on the path of Sowa Rigpa, the way to healing…” I then submitted the the film to various festivals.

It recently won two awards of excellence for the best original song and filmmaker of inspiration, and two honorable mentions for best originality/creativity of the story and best cinematography from Indonesia’s prominent International film festival of Jakarta (June 2014).The awards were given by the health minister of Indonesia.We have also been nominated for the best foreign documentary film by American Online Awards (Dec.2014) and have been officially selected for a showcase in Lucerne Film Festival in Switzerland (Oct 2014).Aside from raising awareness and advocating for the recognition of Sowa Rigpa around the world, opening up conversation among the prominent amchis to consider women and child healthcare more in depth within the discipline, our other major aim continues to be to find the right sponsor for LSTM.

I believe the film can play an important role in this goal.Our film was also reviewed by The Tibetan council for Medicine and gained approval from the prominent amchis from Men- Tsee Khang in Dharmsala which was established by his Holiness the 14 th Dalai lama during the 50’s after establishing his government in exile there in India.The film was then screened at the Tibet festival of the people of Himalayas organized by the Tibet bureau of his Holliness in Paris on the 14 th of June in 2014, followed up by a conversation with Amchi Tsamchoe.Very soon Amchi will be distributed by a professional distributor and all the royalty rights will be dedicated to Amchi Karma and her social projects on women & healthcare.After all, participatory and shared anthropology should not just remain as an approach for the making of the film and the post production process but should be there as a concern for after what happens also.

I believe filmmakers should share their earnings with the people they film as they are the reason for their films to come into existence in the first place.It was saddening for me to read just recently that the lead Nepalese actortoday , who played at the inspiring film nominated for Academy Awards, Himalaya by Eric Valli is still penniless and struggles for survivor.I dreamt of becoming a filmmaker after seeing that film.It is very upsetting to see that the industry and agents between the broadcasters and filmmakers are making things very difficult, and that is why I decided to remain out of the industry.

I managed to make my way into being even more creative and productive while producing really low budget films that got into festivals and Tv broadcast, as I collaborate only with the like minded people.

As we live on the cutting edge of technology, it is certainly the time for independent documentary filmmakers and visual anthropologists to establish their vision more widely.

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One should recognize and admit that the making and the destiny of a film is beyond the filmmaker herself, as the universe may have better plans with it and it would be a pity if one blocks good things from happening with unnecessary limiting self interests, as for me there is nothing so important about “the self” if compared to the amazing life stories we have luckily access to film.So, I suggest 7 epistemological and ideological ideas to guide ethical visual anthropological film-making.I find them to be very rewarding and am determined to follow them in future work ANTHROJOURNAL: The Collegiate Journal of Anthropology. AnthroJournal is an open-source journal of outstanding scholarly research papers and reports authored primarily by undergraduate and graduate college students. The content represents the results of extensive research undertaken by students during the course  .I find them to be very rewarding and am determined to follow them in future work.

I gathered these principles from my personal experiences and from literature, particularly the book edited by Pink , Alfonso and Kurti on “Working Images: Visual Research and Representation in Ethnography” (2004);The film’s main characters should become full members of the research and film-making process.

There should be the desire to reach and work towards social change leading to a fairer society based on self-management and solidarity among persons and groups.There should be a (Self-) critical passion for revealing hidden aspects of our society and ourselves Help me with report anthropology 32 pages / 8800 words Business A4 (British/European) British.There should be a (Self-) critical passion for revealing hidden aspects of our society and ourselves.There should be a conviction that social change will only follow individual transformation, and can be best achieved through group work and equal participation nbd-dhofar.com/dissertation/best-website-to-get-an-repair-technologies-dissertation-2-days-apa-a4-british-european-privacy.There should be a conviction that social change will only follow individual transformation, and can be best achieved through group work and equal participation.To ensure that the achievements of our individual and group subjects work to reduce negative entropy.In order to work this way it is imperative that no person or institution, including film / research team, NGO or association sets the agenda on the basis of their financial contribution.

It is a prerequisite that our documentaries are majorly self funded- and visuals are strictly protected and not shared other then education and cultural use with third parties.That all the earnings from awards and royalty rights of the distribution of the films or images shall be shared equally between the filmmakers and the main characters.To learn more about the film: Official Web Site: Inter– Between, among; mutually; reciprocallyrd June, 1-7pmThis year’s screening and exhibition of third year visual anthropology projects was titled Inter-Reflexions.The organisation of the screening programme made more explicit how our students’ projects speak to each other as much as they do to the wide issues they engage with.They testify to the processes of collaboration and feedback they followed and inspiration they took from teaching in visual anthropology theory in the Autumn term.

In this yearly event we celebrate our students commitment to creative use of photography and video that takes visual anthropological methodologies into engagement with the issues and interests that inspire and fascinate them.Matthew, Chelsey and Liam answer questions about their films.For the screening we started with the body’s most symbolised extension into the space that surrounds us in Matthew Neale’s Hair, a critical exploration of the meanings of hair and hair products.The student experience also featured strongly in Hollie Goman’s intimate enquiry into what university means to students, in The Art of Growing Up.In an altogether more imagined and playful space of magic and alternative use of university spaces, Jake Conley and Chelsey Jacobs, entered into the games of the Harry Potter inspired university club, The Hogwarts Society.

By contrast, Liam Dorr took us off campus in an ethnofiction inspired film on one student’s plan for the perfect party.Ongka’s Big Moka was the inspiration, but From the student ‘hair’ and the now we moved to the theme of eternity and longevity in shorts that tackled religion, activism and laughter.Christiane Howe deepened our appreciation of arranged and sometimes fortuitous marriages in The Unification Movement.Annabelle Spooner travelled to South Korean churches in the UK to see the challenges they face in In Of Families and Eternity, Robert Malin delivered new insights from behind the doors of the Mormon church.In fighting for the continued use of their skatepark on the Southbank, the activists that Henry Worger collaborated with in Culture with a Capital U, also desire a sense of continuity and longevity.

Troy King’s The Act of Laughter delved deeply into the challenges of being a stand up comedian and found strong links with anthropology.Dr Oliver Double, who starred in Troy King’s film, dropped in to contribute further insights into stand up comedy.In the break we had the opportunity to look at the photographic exhibition.It covered similarly wide-ranging topics, exploring a range of photographic techniques within anthropology as well as diverse visual subjects.From the performance of gender and sexuality, to the effect of moving into a retirement home, to the emotional journey of a mixed-martial arts fighter as he prepares for, and takes part in, the biggest fight of his career, the photographic projects asked how, as researchers, we can explore and depict the encounters with life that make up the human experience using photography.

This year’s photographers were: Alice Keegan, Lewis Batterham, Jamie Baird, Ayla Jay, Joanna Jones, Sarah Graham, Thomas Lindsay, Rebecca Scutcher, Keira Henderson, Daven Nijran-Talwar, Lydia Hill and Monique Dray.Jesse Tomlinson answers questions on Cornish Identity.We returned from the break to the themes of home, place and identity, linked in a series of shorts that travel from Cornwall to Canterbury’s Good’s Shed, to London protests against homelessness, to a novel exploration of the idea of stress and ending with one man’s fight with mental illness.Jesse Tomlinson tested claims for Cornish identity in Ve Bos Kernewek in a short in which he was also tested.In Localised, Oliver Seary took us to the heart and soul of local produce, through evocative visual portraits of traders from the Good’s Shed.

Experimental in format with a challenging message, Mike Cadby, delivered a novel framing of the challenge of homelessness in Life’s a Beach.Scott Skinner addressed the question of how the idea of stress effects us using a key TED talk as a vehicle propelled by anthropological interest in the reception of media.A Stressful Perception aims to transform the audience’s perceptions.In Fragments of a Life, Simon Schwarz took us into the home of one man and their journey of facing mental illness through the camera.Our final group of films shifted more deeply into the theme of reflection.

In A Journey Into Landscape & Tourism in Aljezur, Alex Woodcock, journeyed to Portugal to meditate on a village where most of the population now live in cities.In Transient Reflections, Becci Geach translated the experience of being human in moving trains into a visual aesthetic that linked us to fellow passengers.Piano Talk, focused on the destination.Helen Peek explored the reasons why people come from far and wide to play the pianos in King’s Cross Station.Naomi Webb’s Running Monologue, was a strikingly personal portrayal structured by a powerfully moving motif.

Sam Parsons’ gravity defying film, Leave it on the Ground, opened up the social and personal motivations of sky divers and concluded our afternoon.This concluded the screening part of the day.David Pick and Hugh Brody discuss the films during the break.This year we welcomed back Professor Hugh Brody to award the prize in his name.

We were also excited to learn how the Tracks Across Sand project has developed since last year.

Tracks Across Sand is a major video project that looks the history of the first indigenous land claim in Africa.Last year he started a major fundraising initiative to fund the dissemination of the film and to create an online resource.This year he confirmed that he has got funding to screen the film all over the African continent and to set up an archive at the University of Cape Town.This year we also welcomed a new judge for the screening to award the David Pick Documentary Prize.In a career spanning more than three decades, David Pick produced and directed hundreds of television programmes in the UK, mainly for ITV.

From science magazines ( The Real World) to religious/ethical affairs documentaries ( The Human Factor); from a twice-weekly live soap opera ( Together) to filmed family comedy ( Worzel Gummidge); from documentaries like The Tigers’ Tale, chronicling the excavation of The Channel Tunnel, to The Hannibal Test, which followed Ian Botham and elephants on a charity trek across the Alps.The filming presented many practical and ethical challenges to the documentary-maker: in a residential unit for children suffering the effects of severe emotional and/or physical abuse; in day-care centres for babies and toddlers; in a preparatory boarding school; in the mother-and-baby units of British and American prisons; in the cancer wards of children’s hospitals; and with grieving parents in a children’s hospice.Since retiring from TV, David has studied Creative Writing, taking two modules of a part-time BA at UKC before joining the MA programme at Christ Church Canterbury, where he gained a distinction.His first novel, Mrs May: A PsychoSexual Odyssey, tells the story of a primary schoolteacher’s mission to redeem a teenage thug, once a delightful child in her reception class.

Mrs May is available as a paperback or e-book on Amazon.In the dialogue between Hugh Brody and David Pick we hoped to find the creative tension and possibilities between the increasingly blurred boundaries of ethnographic and documentary filmmaking.Sarah receives her award from Maria-Paz and Glenn.The photography prizes were judged by Glenn Bowman and Maria-Paz Peirano.Maria-Paz Peirano is a PhD student researching Chilean cinema.

Glenn Bowman is a reader of social anthropology at the University of Kent, Director of the Liberal Arts programme and a visual anthropologist who uses photography extensively in his research in Jerusalem and the Occupied Territories of Palestine, Macedonia and Cyprus.To see photos of the day please click on our Flickr photostream.PhotographyPrizes Most innovative use of photography: Sarah Graham for ‘Threads of History’ Anthropological Vision: Jamie Baird for ‘The evolution of Murals in East Belfast’ Best overall photographs: Joanna Jones for ‘Timberlina: an anthropological case study of a contemporary drag artist’ Video Prizes The screening and exhibition of third year anthropology student visual projects took place over a long afternoon in Marlowe Lecture theatre.The event was attended by a large group of students, staff and people who had featured in the films. We were especially happy to see Caroline Grundy, a longstanding member of staff who had recently retired.

For many years she had wanted to be present for the whole event.This year’s photographic display covered a wide range of themes, demonstrating a common desire among students to engage with people in the local area and explore anthropology’s relevance for making sense of cultural difference in Southeast England.Topics covered include the Kurdish Newroz (New Year) celebrations in Finsbury Park, sexuality, tattooing, Canterbury and its cathedral, cultural greetings, Canterbury markets and more.Photographic workby Katie Bowerman, Bianca Corriette, Helen Delmar, Myrthe Flierman, Sophie Giddings, Tabitha Hamill, Ville Laakkonen, Sarah O’Donovan, Sophie Tyler, Emma Ward and Matt Weston was exhibited in the Marlowe Foyer.Glenn Bowman judged the three photography prizes.

The theme of people’s engagement with place was also very strong in this year’s video projects. The Cathedralfeatured in two meditative films by Charles Beach and Claire McMurtrie.We were extremely happy to welcome Professor Roger Just back this year.His popularity and inspiration in the year of his retirement had prompted the students that year to suggest a prize in his name.

Home and sexuality research network school of anthropology nbsp

This was the last year that students taught by him were still at Kent.

We were very happy to welcome a longstanding friend of the school Professor Hugh Brody, and previous Stirling Lecturer, to award a prize in his name.He took time from a intensive schedule of screenings of a groundbreaking film project that documents an indigenous land claim in South Africa .He took time from a intensive schedule of screenings of a groundbreaking film project that documents an indigenous land claim in South Africa.

In 2011 he gave a retrospective of his work at Kent. Our third judge, Dr Kate Moore, is also a documentary filmmaker and hadrecently been awarded her PhD in visual anthropology for a project in collaboration with the Powell-Cotton Museum on their Angolan collection that led to a major exhibit, ‘TALA! Visions of Angola’ that gained widespread acclaim blog links UK Visual Anthropology.Our third judge, Dr Kate Moore, is also a documentary filmmaker and hadrecently been awarded her PhD in visual anthropology for a project in collaboration with the Powell-Cotton Museum on their Angolan collection that led to a major exhibit, ‘TALA! Visions of Angola’ that gained widespread acclaim.As the teacher of the course last year, we were especially interested to hear her opinion of the changes in filmmaking styles and focus from last year’s cohort, screened as ‘Self Spaces’ .

We reflected on the students last year and what were they doing now.Nazly Dehganiazar and Harriet Kendall won the Roger Just and Hugh Brody prizes last year for their films ‘Canterbury’s Buskers’ and ‘Voices from the Back Seat’ and we were all very moved to watch their video messages from Holland and the US.Nazly is now doing an MA in Social Anthropology, while Harrietis using her anthropological skills, in the year before going to film school, as the cultural adviser in the English Village in Disneyworld.Films were grouped into themes related to peoples’ engagement with space and introduced by the teacher of the video project,Mike Poltorak.After the screening of a group of films, the directors came to the front for a Q and A.

If you’d like to make your decision about your favourite film please feel free to view and read about them before you read the judges’ choices below.Initiative Hugh Brody spoke about the high quality of films this year and how so many of the films deserved a prize.He reviewed all the film drawing attention to particular things he liked in each film. The judges’ decision however was unanimous.The Hugh Brody Prize went to Charles Beach for his film ‘Cathedral Triptych’.

 The runner up prize was awardedto Olivia Maguire for ‘Under My Skin’.The Roger Just Prize for Visual Anthropology went to Chi-An Peng for ‘Starry’ and the runner up prize to Harry Farrell for ‘The 1882 Movement’.The Audience Prize was voted on by a large audience of students, visitors and staff.It went to Elinor Turnbull’s ‘The Art of Being Lost’.

The runner up prize went to Carmen Yam and Thomas Slatter’s ‘From East to West’.

 It was a close vote with the difference between1 st and 2 nd only one vote and closely followed up by Bhokraj and Danny’s film, ‘The Lives We’ve Lost’picking up a large number of second place votes.The prize was awardedby Alex Woodcock, representing our very active student group TRIBE, and Kate Moore.TRIBE organised the first ever undergraduate conference (Breaking Bubbles)in anthropology in the UK.For the photography prizes there were three categories and a special mention.Katie Bowerman won the prize forInnovative Photography.

Tabitha Hamill won the prize forBest Set of Photographs.Ville Laakkonen won the prize for Best Anthropological Content and received a special mention.As a visiting student from Finland, Ville was particularly happy to receive this accolade and commented on how studying at Kent had been an incredible beneficial experience.The three prize winner’s work is currently on permanent display outside the visual anthropology room in the Marlowe Building.Students and staff joined together tothank the teachers of the visual anthropology projects course this year, Matt Hodges (Photography) and Mike Poltorak (Video), for their inspiration and considerable work that went into preparing the exhibit and screening.

Mike Poltorak thanked the students for their energy and creativity and expressed the desire for them to keep in contact after graduation to help inspire future generations of visual anthropologists. You can also see all the films and read more about them in the dedicated blogs above.We’d love to read any comments in this blog or in our facebook group, UK Visual Anthropologyespecially related to how these films can be useful more broadly. Please post the films you like on your networks so that our students get the wider recognition they deserve.

Video Prizes AwardedLtoR: Rose Delamare,Joanna Turner, Mike Poltorak, Roger Just, Max Harrison & Sarah Molisso Third year undergraduate students have the opportunity to do a Photographic or Video Project in Visual Anthropology in the final Spring Term.For the video project the course begins with students making symbolic cameras that represent their own unique involvement and creativity in their projects.These cameras (see right), remind them of their artistic and creative visions during the trials and challenges of the collaborative process.The resulting videos are screened in the Summer Term to an enthusiastic group of staff, students and visitors.The first, the Roger Just Visual Anthropology Prize, is awarded by Professor Roger Just, much admired by students for his inspirational teaching.The second prize is voted on by the audience.This year the judges decided that Runners Up prizes were also awarded.Below are the projects, click on the link to see some of the films and learn more of the projects.Max HarrisonDanny the… (Roger Just Visual Anthropology Prize) ukvisualanth CAREMOTION –noun- finding balance between the care of others and self, and the emotions during video making.

Etymology-(coined Canterbury 2017) a synthesis of care, motion, emotion, motion picture and commotion.Please join us on the 31st May for a screening of visual anthropology projects that demonstrate the remarkable creativity and engagement of our visual anthropology students at the School of Anthropology and Conservation.The twelve films will be shown in three thematic parts, after each there will be a opportunity for discussion and Q and A.Professor Hugh Brody continues his long support of visual anthropology at Kent and will award the Hugh Brody Visual Anthropology Prize.We welcome visiting Professor Daw-Ming Lee from Taiwan who will award a prize in his name.

He is a reknowned academic and filmmaker and will be giving a talk about his work on the 24th May.The Lynn-Bicker foundation led by Alan Bicker will award a Public Engagement Prize.After the event we will move to the Gulbenkian for post screening drinks and pot-luck.Screenshot from Painting a Journey (Evleen Price) Painting: Andrew PricePortrayal – a depiction of someone or something in a work of art or literature; a picture Trail – a mark or a series of signs or objects left behind by the passage of someone or something.

Join us for the screening of final year visual anthropology projects.Students focussed on a remarkable diversity of themes this year with a strong common focus on the portrayal of groups or particular people.Four prizes will be awarded this year The Hugh Brody Visual Anthropology Prize The Virginia Pitts Prize Audience Prize All audience member will be able to vote for the audience prize but only if they have viewed all films.Picture Credit-Lissa Davies (The Cast) In December 2015 the School of Anthropology and Conservation was privileged to welcome alumnus Gonzalo Chacon for a screening and discussion of the award winning documentary ‘The Silence of the Flies’ for which he was co-executive producer. Guest contributor James Kloda reviews the film below.

All images included are courtesy of NorteSur Producciones.“Silence is golden/But my eyes still see.” This refrain from The Four Seasons’ song is both haunted and haunting, its stated serenity mere illusion.Similarly, Eliezer Arias’ documentary, The Silence Of The Flies, has a lingering disquietude hanging over its subject of multiple suicide, predominantly amongst young adults, in rural Venezuela.Organised by Dr Caroline Bennett, the School was delighted to welcome the film’s executive producer, MA in Visual Anthropology alumnus Gonzalo Chacon, to introduce the screening and participate in a Q & A session, proving to be an engaging, thought-provoking evening.

Arias follows the stories of two ladies, Marcelina and Mercedes, whose daughters tragically took their own lives.One, Mar a Jos , was a spiky, rebellious character who despised the inherent chauvinism of the society surrounding her, defiantly coming out much to the disgust of her father: the other, Nancy, remains far more enigmatic, any allusions to troubled personality reflected in the figure of her devoted sister, who herself tried to commit suicide when she was eight months pregnant.The dichotomy of silence is drawn thus: present absence and absent presence.And silence is very much the thematic heart of the film, for what typifies this seemingly phenomenological outbreak of self-sacrifice is the cloak of hush wrapped around it.

Similar to Joshua Oppenheimer’s recent documentary The Look Of Silence, which followed an Indonesian optometrist confronting the perpetrators of his country’s 1965 genocidal purge, the precise challenge of Arias’ film is to dramatise that dichotomy of silence.

Stories are heard in voiceover against images of their narrators, silent in frame but always staring into the lens, searching it, and us, for answers or a means to express their private tragedies.The effect of this disconnect is persuasive, a voice only able to be candid when disembodied from its speaker.The images themselves are desolate, vast pockets of empty space pushing compositional detail to the fringe leaving a void centre-frame: figures are almost exclusively shot in isolation and, when a group is seen together, it is always from a distance.Perhaps the most striking articulation of the palpable absence at the heart of these communities is of a frozen photograph depicting Mar a Jos filling the screen as the sound of her brother scrubbing down walls prior to decorating scratches metronomically on the soundtrack: a face etched domineeringly in close-up to the tune of attempted erasure.The Silence Of The Flies is not always this gracefully lyrical.

Indeed, some of its more stylised imagery seems too studied: dew drops fall from drooping leaves as Polaroids of victims float down streams.And whilst the lack of objective narration allows us to relate directly to troubled biography, it sometimes becomes difficult to understand whose story we are now following.Yet there is so much to tell, clamouring to get out to reach some form of resolution, that confusion is perhaps inevitable.With questions still so present and answers wholly absent, The Silence Of The Flies ends with a montage of faces now with eyes closed, meditating, perhaps beginning to find some kind of peace now that hush has been broken.