This book uses visual psychological anthropology to explore trauma, gendered violence, and stigma through a discussion of three ethnographic films set in Indonesia: 40 Years of Silence (Lemelson 2009), Bitter Honey (Lemelson 2015), and Standing on the Edge of a Thorn (Lemelson 2012). This exploration "widens the frame" in two senses. First, it offers an integrative analysis that connects the discrete topics and theoretical concerns of each film to crosscutting themes in Indonesian history, society, and culture. Additionally, it sheds light on all that falls outside the literal frame of the screen, including the films' origins; psychocultural and interpersonal dynamics and constraints of deep, ongoing collaborations in the field; narrative and emotional orientations toward editing; participants' relationship to their screened image; the life of the films after release; and the ethics of each stage of filmmaking. In doing so, the authors widen the frame for psychological anthropology as well, advocating for film as a crucial point of engagement for academic audiences and for translational purposes. Rich with critical insights and reflections on ethnographic filmmaking, this book will appeal to both scholars and students of visual anthropology, psychological anthropology, and ethnographic methods. It also serves as an engrossing companion to three contemporary ethnographic films.

This book is one of the first to integrate psychological and medical anthropology with the methodologies of visual anthropology, specifically ethnographic film. It discusses and complements the work presented in Afflictions: Culture and Mental Illness in Indonesia, the first film series on psychiatric disorders in the developing world, in order to explore pertinent issues in the cross-cultural study of mental illness and advocate for the unique role film can play both in the discipline and in participants' lives. Through ethnographically rich and self-reflexive discussions of the films, their production, and their impact, the book at once provides theoretical and practical guidance, encouragement, and caveats for students and others who may want to make such films.

The epic novel Beauty Is a Wound combines history, satire, family tragedy, legend, humor, and romance in a sweeping polyphony. The beautiful Indo prostitute Dewi Ayu and her four daughters are beset by incest, murder, bestiality, rape, insanity, monstrosity, and the often vengeful undead. Kurniawan's gleefully grotesque hyperbole functions as a scathing critique of his young nation's troubled past:the rapacious offhand greed of colonialism; the chaotic struggle for independence; the 1965 mass murders of perhaps a million "Communists," followed by three decades of Suharto's despotic rule. Beauty Is a Wound astonishes from its opening line: One afternoon on a weekend in May, Dewi Ayu rose from her grave after being dead for twenty-one years.... Drawing on local sources-folk tales and the all-night shadow puppet plays, with their bawdy wit and epic scope-and inspired by Melville and Gogol, Kurniawan's distinctive voice brings something luscious yet astringent to contemporary literature.

This book uses visual psychological anthropology to explore trauma, gendered violence, and stigma through a discussion of three ethnographic films set in Indonesia: 40 Years of Silence (Lemelson 2009), Bitter Honey (Lemelson 2015), and Standing on the Edge of a Thorn (Lemelson 2012). This exploration "widens the frame" in two senses. First, it offers an integrative analysis that connects the discrete topics and theoretical concerns of each film to crosscutting themes in Indonesian history, society, and culture. Additionally, it sheds light on all that falls outside the literal frame of the screen, including the films' origins; psychocultural and interpersonal dynamics and constraints of deep, ongoing collaborations in the field; narrative and emotional orientations toward editing; participants' relationship to their screened image; the life of the films after release; and the ethics of each stage of filmmaking. In doing so, the authors widen the frame for psychological anthropology as well, advocating for film as a crucial point of engagement for academic audiences and for translational purposes. Rich with critical insights and reflections on ethnographic filmmaking, this book will appeal to both scholars and students of visual anthropology, psychological anthropology, and ethnographic methods. It also serves as an engrossing companion to three contemporary ethnographic films.

Imagine a secret kingdom for endangered and extinct animals; a place where they could live freely without humans hunting them or taking over their land. A beautiful place called Orrcry, just one of such realms has the perfect habitats for all kinds of placid creatures such as the mighty black rhino and the dodo. Here they live peacefully until such a time that the world is ready to look after their species again. But what if that kingdom got taken over by a cruel beast seeking revenge? A creature that does not belong in Orrcry but is determined to make every living thing fear him. What could one frightened little bilby called Amaroo and a Scottish Wildcat do to bring harmony back to Orrcry when they don't even know such a place exists? Amaroo doesn't have a clue what kind of creature he is. He looks nothing like any of the other creatures around him and now that he has come-of-age, he wants to find out why his mother left him alone with a predator that, on any other day, would have gobbled him up. His surrogate mother, Tappy, is determined to help him find answers but first Amaroo must prove that he is brave enough to leave the cosy allotment shed they share and face his fears of the world around him. Foxes, savage dogs, and hungry owls all do their best to make a meal of him, but a mysterious whispering blue light appears and guides him out of danger, showing him skills he never knew he had. With the reluctant help of a calculating crow, the pair discover how to get to Orrcry, but what they don't know is what awaits them when they do and whether Amaroo's mother will be pleased to see him. Was there a real reason for leaving him on Earth?