Ce projet analyse le rôle des images – photographies, films, dessins – produites dans le cadre des recherches ethnographiques « interdisciplinaires » menées par l’anthropologue italien Ernesto De Martino en Italie méridionale dans les années 1950. Ces expéditions ont donné lieu à des documents multiformes puisqu’elles regroupent des chercheurs de formations différentes : historien des religions, ethnomusicologue, psychiatre, photographe, et occasionnellement cinéaste. Plus spécifiquement, il s’agit d’étudier le rôle des matériaux visuels dans la recherche sur le tarentisme, rituel de possession observé dans les Pouilles en 1959 par De Martino et son équipe, matériaux dont une partie constitue l’annexe photographique de son œuvre célèbre La terra del rimorso (1961). Nous portons également attention à l’atlas iconographique de son ouvrage sur la lamentation funèbre, Morte e pianto rituale nel mondo antico. Dal lamento pagano al pianto di Maria (1958), fruit d’une étude de terrain dans la région sud italienne de la Lucania (Basilicata). Tout en considérant les relations intermédiales entre les images, le texte, le son et le corps, ce mémoire identifie les rapports dialectiques entre les techniques d’enregistrement et les logiques répétitives, rythmiques et performatives des rituels en question. Chez De Martino, l’image est point de tension en matière de temporalité et de ressemblance : elle suggère une anthropologie de la « survivance » nous permettant de relever plusieurs correspondances avec l'oeuvre de l’historien de l’art Aby Warburg. / This project deals with the production of images in Italian anthropologist Ernesto De Martino’s 1950s “interdisciplinary ethnographies” in southern Italy. These expeditions, innovative for their time, involved a team of researchers (including a religious historian, ethnomusicologist, psychiatrist, photographer and, at times, a filmmaker) and gave rise to mixed-media documents. While the textual aspects of De Martino’s work have been studied in depth, my approach focuses on image-making practices: photography, film, drawings. Building largely on his famous work La terra del rimorso (1961) on tarantism – a possession ritual observed by De Martino’s team in Puglia in 1959 – as well as on the iconographic atlas of Morte e pianto rituale nel mondo antico. Dal lamento pagano al pianto di Maria (1958) – his study on mourning rituals led in the southern Italian region of Lucania (Basilicata) –, this thesis suggests that images, despite their ancillary status, formed a major part of De Martino’s fieldwork and transmitted much more than documentary knowledge. Not only does the visual haunt De Martino’s own text as a literary device, but it is also tightly connected to a series of intermedial elements (sound, objects, bodies) inherent to the ritual “apparatus” itself and its documentation process. It was thus possible to perceive a dialectical relationship between technological imagistic devices such as photography and film, which “reproduced” possession rituals, and those practices’ own repetition processes, temporal rhythms, and performativity. Lastly, these images also suggest an anthropology of “afterlife” by means of visual analogies passed through bodily gesture, reminiscent of Aby Warburg’s work.

ANTROPOLOGICKÝ SERIÁL - Kognitívne a semiotické modely kultury Abstract /english version/: The author of the thesis has developed a methodological framework of visual anthropology by collecting relevant information concerning the subject and by verifying this knowledge practically in an authentic living environment. This interconnection represents the main twist in the methodology, which turns away from the informative and interpretative version of ethnographic (anthropological) film and moves towards its functional, socio-cultural analysis. The subject of the thesis is an interdisciplinary research and possibilities of applying cognitive and semiotic analytical schemes into the process of directing an anthropological series. The entire project of an authentic ethnographic research and the film tumenge (I., II., III.) attempt to display the interethnical relations in the village Palota in the North-East of Slovakia, particularly bringing the life in the local Roma settlement and its individual members into sharp focus.

Universidade do Estado do Rio de Janeiro / A partir de um estudo etnográfico, pretendemos investigar as representações sobre a gravidez e a maternidade em mulheres que são mães durante o cumprimento da pena na Penitenciária Talavera Bruce, no Rio de Janeiro. Estas mães, que convivem com seus filhos durante seis meses, têm os vínculos interrompidos após o período de amamentação. Todavia, os presídios não são designados para propiciar o vínculo familiar, pois, se pensarmos as prisões como instituições cujas práticas ocorrem à margem da lei e, mais do que isso, que geram atributos estigmatizantes aos sentenciados, é evidente que a presença dessas crianças produz um conflito entre o direito das mesmas ao convívio familiar e as funções punitivas das prisões. / Starting from an ethnographic study, we intend to investigate the maternity of women who become mothers during their confinement to serve their prison sentences in Talavera Bruce Penitentiary in Rio de Janeiro. These mothers, who live together with their children for only six months, have their intimate and affective links broken up after the breast-feeding period. Nevertheless penitentiaries arent designated to provide familiar vinculum, as, if we think prisons like an institution where lawless practices happen, and what is more, if these prisons are places where condemned people are looked at with stigmatizing attributes, its clear that the presence of these children brings about a conflict between their right to familiar relationship and the prison punitive functions.

Universidade do Estado do Rio de Janeiro / A partir de um estudo etnográfico, pretendemos investigar as representações sobre a gravidez e a maternidade em mulheres que são mães durante o cumprimento da pena na Penitenciária Talavera Bruce, no Rio de Janeiro. Estas mães, que convivem com seus filhos durante seis meses, têm os vínculos interrompidos após o período de amamentação. Todavia, os presídios não são designados para propiciar o vínculo familiar, pois, se pensarmos as prisões como instituições cujas práticas ocorrem à margem da lei e, mais do que isso, que geram atributos estigmatizantes aos sentenciados, é evidente que a presença dessas crianças produz um conflito entre o direito das mesmas ao convívio familiar e as funções punitivas das prisões. / Starting from an ethnographic study, we intend to investigate the maternity of women who become mothers during their confinement to serve their prison sentences in Talavera Bruce Penitentiary in Rio de Janeiro. These mothers, who live together with their children for only six months, have their intimate and affective links broken up after the breast-feeding period. Nevertheless penitentiaries arent designated to provide familiar vinculum, as, if we think prisons like an institution where lawless practices happen, and what is more, if these prisons are places where condemned people are looked at with stigmatizing attributes, its clear that the presence of these children brings about a conflict between their right to familiar relationship and the prison punitive functions.

Cette recherche s’est initialement constituée autour de la réalisation de films documentaires et d’une collecte d’images vernaculaires produites dans le « quartier tsigane » (une « ţigănie ») du village de Dițești, au sud de la Roumanie. Dès le début de l’enquête, mes interlocuteurs m’indiquent que leur tsiganie est peuplée d’images ; des telenovelas, des images domestiques, des « films de commande familiaux », etc. Chaque situation filmée fait ainsi l’objet d’intenses négociations entre des pratiques et des expériences filmiques contrastées. Ce travail de description et de reconstitution de l’expérience vécue et sédimentée des images de mes interlocuteurs, par l’observation de ses ramifications à la fois dans le monde social et dans une histoire et une écologie des images, a successivement pris la forme d’une enquête par les arts filmiques, d’une histoire visuelle et numérique des figures tsiganes des industries culturelles roumaines, et enfin d’une archéologie des pratiques filmiques vernaculaires en ţigănie.Bien que l’échelle de l’analyse soit celle de la monographie, l’enjeu de ce travail est de montrer combien cette forme d’expérience reconfigure la pratique des arts filmiques et élargit le champ phénoménal des différentes traditions de recherche qui composent le domaine de l’anthropologie visuelle (« ethnographie expérimentale », Indigenous media et film ethnographique). En somme, cet ensemble de propositions visuelles et manuscrites considère les arts filmiques comme des outils analytiques permettant de comprendre et faire comprendre l’expérience vécue des personnes filmées et l’agentivité des images dans le monde social que nous habitons. Ce qui implique, c’est à la fois la conclusion de cette recherche et le postulat du manuscrit, de considérer les cinéastes et les interlocuteurs de l’anthropologue comme de véritables observateurs et théoriciens des images et des réalités vécues. Ainsi, en appréhendant les images au prisme de l’expérience des images des enquêtés, cette recherche expose la manière dont les arts filmiques – en tant que pratique et discipline – produisent de nouveaux questionnements anthropologiques. Complémentairement, et de manière plus critique, ce savoir des images invite à reconsidérer avec attention la manière dont les anthropologues (et les cinéastes) délèguent parfois aux technologies de l’image des fonctions descriptives, mémorielles, ou transactionnelles. / This research initially consisted of the production of documentary films and a collection of vernacular images produced in the "Gypsy Quarter" ( "ţigănie") of Diţeşti, a village in the south of Romania. From the start of this investigation, my interlocutors informed me that their ţigănie is populated by images; telenovelas, domestic pictures, “commissioned home movies”, etc. Each filmed situation is therefore the subject of intense negotiations between practices and contrasting filmic experiences. This work is based on a description and the reconstruction of the lived experiences, sedimented with images of my interlocutors. By observing the ramifications of this work, both in the social world and in a history and ecology of images, it has progressively taken the form of an investigation by the filmic arts, a visual and digital history of Gypsy figures of the Romanian cultural industries and an archeology of vernacular film practices in ţigănie. Although the scale of the analysis is that of a monograph, the challenge of this work is to show how this form of experience reconfigures the practice of filmic arts and broadens the phenomenal field of different research traditions that constitute the field of Visual Anthropology ("experimental ethnography", Indigenous media and ethnographic film). In short, this set of visual and textual proposals considers the filmic arts as analytical tools for understanding and making understood the lived experience of filmed people and the agentivity of images in the social world we inhabit. What this thesis proposes, both in its hypothesis and conclusion, is to consider both filmmakers and the anthropologist’s interlocutors as true observers and theoreticians of images and experienced realities. Thus, by understanding images through the experience of the respondents’ images, this research demonstrates the way in which the filmic arts - as a practice and a discipline - generate new anthropological questions. In addition, and more critically, this knowledge of images invites us to reconsider attentively the way in which anthropologists (and filmmakers) sometimes delegate the descriptive, memorial or transactional functions of images to visual technologies.

The objectives of this dissertation thesis could be divided into two primary analytical- interpretation areas. The first one would be trying to define the starting position of visual anthropology based on current trends in order to think about the active ingredients that discipline bases its knowledge and research. The image and sound penetrate our world to such an extent that it is necessary to reflect on the role that space plays in our life and how it is necessary to continue to work with these audiovisual principles in visual anthropology. At the same time, virtual and digital ethnography focuses our attention on changing the nature of our terrain, which needs to be taken into account immediately in our research. In some audio-visual projects I try to reflect different analytical-interpretative approaches and methods. In the project "Musicians" I ask questions how to process the theme of folk musicians from northeastern Slovakia, whose representations appear in a world full of openness, interconnection and sharing. In the experimental film project Watching Last Judgment I try to find ways to mediate sensory experience in a specific space connecting the sacred and profane places of the historic monastery in Voronet, Romania. In the last project I devote my analytical reasoning to this...

[ES] La "colonialidad" es un ethos cultural no superado, tanto en España como en las antiguas Colonias. En el marco migratorio español, donde existe un flujo permanente de personas provenientes principalmente de África y América Latina, vislumbrar la resignificación contemporánea de las relaciones coloniales fundamentadas en la desigualdad entre el Norte Global y el Sur Global, nos permite entender al racismo como un sistema de ficciones y una matriz organizadora de poder con implicaciones a nivel económico, político, social, cultural, histórico y epistémico. El creciente movimiento antirracista en España busca visibilizar y erradicar este sistema de exclusión, luchando por los derechos de miles de personas migrantes provenientes del Sur Global que habitan en este territorio. Para esto, retoman reflexiones dadas desde la teoría y feminismos decoloniales con el propósito de hacer visibles las relaciones de poder desiguales, con herencia colonial, que operan y afectan las vidas de las personas migrantes y racializadas en España. Este trabajo de investigación etnográfica busca entender a las redes migratorias de mujeres en el estado español desde el trabajo y experiencias de una colectiva de corte feminista, antirracista y decolonial que opera en Valencia, "Mujeres con Voz". Donde mujeres provenientes del Sur Global trabajan por romper con los estereotipos y violencias que median sus experiencias, para construirse como sujetos políticos activos en su nueva sociedad de recepción. Esta investigación busca entender cómo se construye y qué permite esta red migratoria, además de evidenciar qué significa para este grupo ser una mujer migrante y racializada en Valencia. Para esto, se harán visibles las estrategias y espacios de resistencia decolonial que ha generado este grupo en un contexto migratorio complejo, donde el aparataje estatal, legal y los paisajes mediáticos locales y globales, generan estereotipos migratorios que limitan sus vidas y pleno desarrollo. / [CAT] La "colonialitat" és un ethos cultural no superat tant a Espanya com a les antigues Colònies. En el marc migratori espanyol, on hi ha un flux permanent de persones provinents principalment d'Àfrica i Amèrica Llatina, albirar la resignificació contemporània de les relacions colonials fonamentades en la desigualtat entre el Nord Global i el Sud Global, ens permet entendre a el racisme com un sistema de ficcions i una matriu organitzadora de poder amb implicacions a nivell econòmic, polític, social, cultural, epistèmic i històric. El creixent moviment antiracista a Espanya busca visibilitzar i eradicar aquest sistema d'exclusió, lluitant pels drets de milers de persones migrants provinents de el Sud Global que habiten en aquest territori. Per això, reprenen reflexions donades des de la teoria i feminismes decoloniales amb el propòsit de fer visibles les relacions de poder desiguals, amb herència colonial, que operen i afecten les vides de les persones migrants i racialitzades a Espanya. Aquest treball de recerca etnogràfica busca entendre a les xarxes migratòries de dones a l'estat espanyol des del treball i experiències d'una col·lectiva de tall feminista, antiracista i decolonial que opera a València, "Dones amb Veu". On dones provinents de Sud Global treballen per trencar amb els estereotips i violències que intervenen seves experiències, per construir-se com a subjectes polítics actius en la seva nova societat de recepció. Aquesta investigació busca entendre com es construeix i què permet aquesta xarxa migratòria, a més d'evidenciar què significa per a aquest grup ser una dona migrant i racialitzada a València. Per això, es faran visibles les estratègies i espais de resistència decolonial que ha generat aquest grup en un context migratori complex, on el aparells de l'Estat, legal i els paisatges mediàtics locals i globals generen estereotips migratoris que limiten les vides d'aquestes dones. / [EN] "Coloniality" is a current cultural ethos that operates both in Spain and in the former Colonies. This influences the Spanish migratory framework, which has a permanent flow of people coming mainly from Africa and Latin America. To understand the contemporary resignifications of these colonial relations based on the inequality between the Global North and the Global South, allows us to understand racism as a system of fictions and an organizing matrix of power with implications at the economic, political, social, cultural, historical and epistemic levels. The growing anti-racist movement in Spain seeks to make visible and eradicate this system of exclusion, fighting for the rights of thousands of migrants from the Global South who live in this territory. For this, they take up reflections given from decolonial theory and feminisms with the purpose of making visible the unequal power relations, with colonial heritage, that operate and affect the lives of migrants and racialized people in Spain. This ethnographic research seeks to understand the migratory networks of women in the Spanish state from the work and experiences of a feminist, anti-racist and decolonial collective that operates in Valencia, "Mujeres con Voz". Where women from the Global South work to break the stereotypes and violence that mediate their experiences and construct themselves as active political subjects in their new society. This research seeks to understand how this migratory network is developed and what it allows, and show what it means for this group to be a migrant and racialized woman in Valencia. The strategies, and spaces of decolonial resistance generated by this group will become visible in a complex migratory context, where the state, legal, and local and global media landscapes generate migratory stereotypes that limit the lives of these women. / Naranjo Ayala, MJ. (2021). Redes migratorias de mujeres y espacios decolonizadores, estudio de etnografía visual: Colectiva "Mujeres con voz-Valencia" [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/177646 / TESIS

The thesis presents a view of film for change set against the manifold approaches, practices or ideologies influencing it, and analysis it as a tool for the self-representation, self-determination and mediation of marginalised people in the face of globalization and the democratization of communication. It seeks to find an answer to the question of how film for change works as a method to empower the disadvantaged inhabitants of three villages in Tanzania, where fieldwork was carried out. The thesis tracks down core parameters that connect the visual communication experience to the social reality and bear the potential to change it. The use of visual communication technology, interactive and horizontal communication practices, fictionalizations and empowerment strategies enable processes among spectators and participants that permit them to reframe or reconsider representations that they witness. Film for change potentially reaches beyond the community and through convergence with Web 2.0 into the much larger public sphere, nationally as well as globally. The thesis suggests that film for change should be adapted to the present day media environment as citizens’ media, whereby media users also become media producers and start broadcasting self-communicated alternatives to the images and interpretations produced by established media corporations that dominate the global flows of information. In this way film for change connects to the right to communicate and becomes a tool for citizens to influence power relations and advocate social change.

This thesis proposes elements for a cognitive anthropology of visual art. Most works of art are human-made objects that cannot be approached in purely functional terms, and as such they frustrate important cognitive expectations that people have about artefacts. For this reason, it is hypothesised that art triggers speculation about the artist’s intention, and that it is intuitively approached as a form of communication. By application of Bloom’s (1996) theory of artefact categorisation, and Sperber and Wilson’s (1986/1995) relevance theory of communication, a series of predictions are generated for art categorisation (or definition), art appreciation, and art cultural distribution. Two empirical studies involving more than 1,000 participants tested the most important of these predictions. In study 1, a relationship was found between how much a series of works of art were liked and how easy they were to understand. Study 2 comprised four experiments. In experiment 1, a series of hyperrealistic paintings were preferred when they were labelled as paintings than when they were labelled as photographs. In experiments 2a and 2b, a series of paintings were considered easier to understand and, under some conditions, were preferred, when they were accompanied by titles that made it easier to understand the artist’s intention. In experiment 3, a series of artefacts were more likely to be considered “art” when they were thought to have been created intentionally than when they were thought to have been created accidentally. The results of studies 1 and 2 confirmed the predictions tested, and are interpreted in the framework of relevance theory. The art experience involves speculation about the artist’s intention, and it is partly assessed as a form of communication that is constrained by relevance dynamics. Implications for anthropology of art, psychology of art, and the art world are discussed.

This thesis explores the potential of video as a research tool for anthropologists in the recording of a single ritual. The study examines interactions between ethnographers, informants and viewers. The thesis reveals the capacity of video to make possible close, detailed readings of performance in terms not originally anticipated by the researcher. Archival storage of the video recording allows for critique and assessment of the research. The case study chosen in which to test the potential of \ dcso as a research tool was a woman's 'initiation' r^L'ial (called inton jane) in Shixini in the Eastern Gape (in what was, until recently, the independent homeland of Transkei). Historically, the ritual was supposedly held at the time of a girl's first menstruation, this being the physical symbol of her transformation into adulthood. Ritual seclusion served to effect an accompanying social transformation in preparation for marriage. Paradoxically, in the late 1980's, it was older women and mothers, already married and well past the age of first menstruation, who were undergoing the ritual seclusion and symbolic marriage. The study explores this paradox with the goal of understanding the purpose of the ritual in contemporary times. By recording large segments of the ritual on video, and subjecting the footage to a close analysis of verbal and non-verbal aspects of performance, both the ritual and the merits of video as a research tool could be examined. Video was utilised, in an interactive research process, as an information elicitation tool. The analysis of the recorded text of the ritual brings to the fore elements which make what is apparently a paradox understandable. The elements which explicate the paradox were not anticipated when the research commenced, and in all likelihood would have eluded a researcher who did not have the benefit of the incidental capture on video. The thesis reveals the enormous Contribution video can make to research and suggests that video has an important contribution to make to the discipline of anthropology.