Grimshaw sets a new agenda for visual anthropology, attempting to transcend the old division between image and text-based ethnography. She argues for the use of vision as a critical tool with which anthropologists can address issues of knowledge and technique. The first part of the book critically examines anthropology's history, focusing on the work of key individuals--Rivers, Malinowski and Radcliffe-Brown--in the context of early modern art and cinema. In the book's second part, Grimshaw considers the anthropological films of Jean Rouch, David and Judith MacDougall and Melissa Llewelyn-Davies.

Once hailed as a radical breakthrough in documentary and ethnographic filmmaking, observational cinema has been criticized for a supposedly detached camera that objectifies and dehumanizes the subjects of its gaze. Anna Grimshaw and Amanda Ravetz provide the first critical history and in-depth appraisal of this movement, examining key works, filmmakers, and theorists, from Andre Bazin and the Italian neorealists, to American documentary films of the 1960s, to extended discussions of the ethnographic films of Herb Di Gioia, David Hancock, and David MacDougall. They make a new case for the importance of observational work in an emerging experimental anthropology, arguing that this medium exemplifies a non-textual anthropology that is both analytically rigorous and epistemologically challenging."

After more than a decade in the United States, the Caribbean writer C. L. R. James ran afoul of McCarthyism in 1953 and was deported. In exile in London, he began to write stories in the form of letters to his four-year-old son "Nobbie," who remained in the States. Through a distinctive, imaginary, and sometimes absurd cast of characters--Good Boongko, Bad boo-boo-loo, Moby Dick, and Nicholas the worker, among others--these stories explore questions of friendship, conflict, community, ethics, and power in humorous and often ingenious ways; they also stand as a moving testament to a father's struggle to be a vivid presence in the life of his son despite separation and distance.

Attesting to James's remarkable gifts as a writer and his unusual talent for engaging wide and diverse audiences, these witty and poignant stories, published here for the first time, are not just for James aficionados. Each story is a delight in its own way, making the book irresistible for children and adults alike.

Questions of vision and knowledge are central to debates about the world in which we live. Developing new analytical approaches toward ways of seeing is a key challenge facing those working across a wide range of disciplines. How can visuality be understood on its own terms rather than by means of established textual frameworks? "Visualizing Anthropology" takes up this challenge. Bringing together a range of perspectives anchored in practice, the book maps experiments in the forms and techniques of visual enquiry.
The origins of this collection lie in visual anthropology. Although the field has greatly expanded and diversified, many of the key debates continue to be focused around the textual concerns of the mainstream discipline. In seeking to establish a more genuinely visual anthropology, the editors have sought to forge links with other kinds of image-based projects. Ethnography is the shared space of practice. Understood not as a specialized method but as cultural critique, the book explores new collaborative possibilities linked to image-based work.