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Antrho. Midterm
all major concepts, theories, methods, select films, etc.
| question/term | answer/definition |
|---|---|
| Holism | studying cultures as integrated systems |
| comparison | examining similarities and differences across societies |
| evolutionary approach | understanding change over time |
| what does anthropology aim to do | understand humans in a broad, comparative context |
| holism, comparison, evolutionary approach | core elements of anthropological perspective |
| ethnography (primary method 1) | detailed description of culture based on fieldwork |
| ethnography (primary method 2) | central research approach in cultural anthropology |
| participant observation | key immersive method involving living within a community |
| advantages of participant observation | reveals actual behavior; builds deep contextual understanding |
| challenges of participant observation | time-intensive; emotional and physical demands; ethical considerations; maintaining objectivity |
| informants | community members who share knowledge |
| rapport | trusting relationships essential for accurate data |
| reflexivity | awareness of researcher's identity, biases, and influence; critical for ethical and accurate research |
| cultural relativism | understanding practices in their own cultural context |
| ethnocentrism | judging other cultures by one's own standards |
| cultural relativism vs. ethnocentrism is associated with | Franz boas- challenged racial hierarchies and emphasized cultural context |
| unilineal evolution | 19th century belief that all societies progress along one path |
| historical particularism | each culture has its own unique theory |
| poststructuralist critiques | question objective truth and authority; emphasize power, discourse, and representation |
| ontological turn/ multispecies anthropology | expands anthropology beyond human-centered perspectives; includes animals, environments, spirits, and multiple realities |
| culture is | shared, learned, symbolic, dynamic |
| enculturation | process of learning one's own culture through teaching, modeling, participation, practice |
| core cultural concepts | values, beliefs, norms, habitus |
| values | ideas of what is good or desirable |
| beliefs | assumptions about truth or reality |
| norms | rules for behavior |
| habitus | deeply internalized patterns of action and perception |
| political organization types | band, tribe, chiefdom, state |
| band | small, kin-based groups; informal leadership; typical of foragers |
| tribe | larger than bands; relatively egalitarian |
| chiefdom | ranked social hierarchy; hereditary leadership; redistribution of resources |
| state | centralized government; bureaucracy and laws; social stratification; elites control power and resources |
| foraging (hunting and gathering) | oldest subsistence strategy; reciprocity is key sharing system; located in marginal environments |
| horticulture | small-scall cultivation; simple tools; includes slash-and-burn farming |
| agriculture | intensive farming; plows, irrigation, permanent fields; produce large surpluses |
| domestication | long-term genetic modification of plants and animals; foundation for complex societies |
| surplus production | enables population growth; social stratification; emergence of states |
| visual anthropology | uses images and film to study culture |
| role of film | research tool and form of representation |
| ethnographic film | anthropological purpose; cultural analysis, seeks insider perspective |
| documentary film | broader nonfiction storytelling; may emphasize narrative, persuasion, or aesthetics |
| early ethnographic film goals | documenting "disappearing" cultures; preserving traditions, shaped by colonial viewpoints |
| early ethnographic technical limitations | no portable sound recording; short film reels; difficult editing; heavy equipment |
| romantic ethnography | adventure, heroism, exoticism |
| critical approaches | power, inequality, everyday realities |
| filmmaker narrative elements | pacing, sound and music, narration style, editing choices, scripting and staging, camera perspective |
| Robert Flaherty | pioneer of documentary film; Nanook of the North |
| Robert Gardner | Dead Birds |
| John Marshall | The Hunters |
| Margaret Mead and Gregory Bateson | Film as scientific tool |
| Edward Curtis | early native American film work |
| theories of representation | reflective, constructionist, intentional |
| reflective | media mirrors reality |
| constructionist | meaning created through language/symbols |
| intentional | meaning reflects creator's intent |
| challenges of representation | possibility of objectivity, power relations in storytelling; ethnographic authority |
| symbolic framing-films will often use | myths, fables, symbolic imagery, narrative structures |
| colonial influence | early anthropology developed within colonial contexts; researchers studied colonized populations |
| salvage anthropology | attempt to record cultures thought to be disappearing; produced valuable records but often froze cultures in time |
| early-mid 20th century style film characteristics | authoritative narrative; dramatization and staged scenes; heroic storylines; single objective pov; Hollywood like storytelling |
| early-mid 20th century film examples | nanook of the north; dead birds; the hunters |
| later/contemporary style characteristics | acknowledges filmmakers role; collaborative w participants; focus on everyday life; multiple perspective; less dramatized |
| later/contemporary film examples | himalaya, land of women; daughters of anatolia |
| power | ability to coerce or force compliance |
| authority | legitimate, culturally recognized right to lead |
| legitimacy | cultural beliefs that justify why certain people have right to rule |
| egalitarian | believing the principle that all people are equal and deserve equal rights and opportunities |
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