Thesis And Dissertation Nyu

Thesis And Dissertation Nyu-79
Almost all human cultures engage in some form of ball play.

Almost all human cultures engage in some form of ball play.

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This dissertation examines the evolution of Rouch's filmmaking practice, looking, in particular, at the role that French imperial culture and the colonial situation played in shaping his ideas about both anthropology and film.

Rouch's life and work took shape in dialogue with both France's imperial project and West Africa's struggle for independence from (neo)colonial power.

In light of this, I argue that Rouch's story needs to be retold, as one that is not altogether unique, or even specifically French, but rather, as part of a narrative about Franco-African (post)colonial history.

Unpacking this history helps to resituate Rouch's film work as part of a larger discussion about the complexities of the (post)colonial encounter, and about the role that visual artifacts can play in helping contemporary thinkers work through those complexities.

When play becomes rule-bound game, these activities become dialogic and narrative encounters of the self with the social.

And when games become institutionalized and ritualized as sports, theories of the social order and the natural order come fully into contact.The analysis herein focuses on the structure, and to a lesser extent the infrastructure, of one of our most omnipresent yet overlooked media.Typographical shapes have been neglected by works in media studies that address "print media" and the threat of "digital media," and also by design fields that study the semiotic, socio-historical, or classificatory sides of typography.And in spite of Rouch's efforts to use film as a means to transform anthropology into a more collaborative and dialogic undertaking, many African filmmakers accused Rouch of having an imperialist vision of his African subjects.Rouch was also criticized - and not only by Africans - for his aversion towards politics and for what some perceived as a tendency to avoid political controversy in his films.Furthermore, in his drive to 'share' anthropology, Rouch sought to use his skills and resources to assist his African collaborators in their own ambitions to make films, either with him or independently.But as a French man working in West Africa both prior to and following French colonial rule, Rouch's practice evolved out of a historical moment fraught with complexities and ambiguities.French anthropologist and filmmaker Jean Rouch made over 100 films throughout his long career, the bulk of which were recorded in West Africa.Founder of the cinéma-vérité movement and pioneer of techniques like 'shared anthropology' and 'ethno-fiction,' Rouch used the medium of film to stimulate new ways of thinking about anthropological knowledge, cross-cultural encounters, and the apparent fixity of social roles in the (post)colonial world order.It identifies a series of features that come to the fore when one studies typography as shape, and it sketches out a diagrammatic analysis of eighteen characterforms.The new typographical system proposed here highlights typography's technologies and its non-linear, quantized structure; and through the diagram it promotes typography as a functional visualization in which function no longer obscures visuality.

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