|
Showing 1 - 9 of
9 matches in All Departments
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.
|
Beauty is a Wound (Paperback)
Eka Kurniawan; Translated by Annie Tucker
1
|
R396
R325
Discovery Miles 3 250
Save R71 (18%)
|
Ships in 9 - 15 working days
|
A colour-drenched epic set in Indonesia, filled with vivid sex and
violence, from the Man Booker International Prize longlisted author
'A literary child of Gabriel Garcia Marquez and Salman Rushdie'New
York Review of Books"/i 'A howling masterpiece' Chigoze Obioma,
author of The Fisherman One stormswept afternoon, after twenty-one
years of being dead, the beautiful Indonesian prostitute Dewi Ayu
rise from her grave to avenge a curse placed on her family. Amidst
the orange groves and starfruit trees, her children and
grandchildren have been living out lives of violence, incest,
murder, madness and heartbreak, They are creatures of breathtaking
beauty - all but one of them, whose ugliness in unparalleled. And
Beauty is her name. Set in the mythical Indonesian town of
Halimunda, Beauty is a Wound is a bawdy, epic take of fearsome
women and weak-willed men, communist ghosts and vengeful spirits.
chaste princesses and ruthless bandits. It is also a satirical
portrait of Indonesia's painful past, journeying through almost a
century of brutality, from Dutch colonialism and Japanese
occupation to revolution, independence and dictatorship. Weaving
together history with local legend, Eka Kurniawan spins a
fantastical masterpiece in which darkness and light dance hand in
hand.
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?
|
|