Visual anthropology has proved to offer fruitful methods of research and representation to applied projects of social intervention. Through a series of case studies based on applied visual anthropological work in a range of contexts (health and medicine, tourism and heritage, social development, conflict and disaster relief, community filmmaking and empowerment, and industry) this volume examines both the range contexts in which applied visual anthropology is engaged, and the methodological and theoretical issues it raises.

A reference tool for any teacher of Anthropology. Unique in focus and content, this book focuses on the "how" of teaching anthropology across all of its sub-fields Cultural-Social, Biological, Archaeology, and Linguistics (and their two dimensions: research and applied studies) and to provide a wide array of associated learning outcomes and student activities. It is a valuable single-source compendium of strategies and teaching "tricks of the trade" from a group of seasoned teaching anthropologists working in a variety of teaching settings who share their pedagogical techniques, knowledge, and observations. Focused on the applied, "how to do it" side of the pedagogical nature of teaching, the text is designed to fill the gap between students who are taking an anthropology class for the first time and instructors who know their subject matter in depth, but who are not sure how to present it to their students in a way that will capture and relay their own excitement with the subject and that will "engage" students in anthropological subject matter and its processes

El Guindi provides a comprehensive guide to the methods of visual anthropology and the use of film in cross-cultural research and ethnography. She shows how visual media — photographic, filmic, interactive — is now an accepted part of the anthropological process, a vital tool that reflects and produces knowledge about the range of cultures and about culture itself. It preserves the integrity of people, objects, and events in their cultural context, and expands our horizons beyond the reach of memory culture. El Guindi places visual anthropology within an empirically-based, analytic framework, built on systematic observation, identifying the research cycle that begins with data gathering and leads to visual ethnographic construction that is anthropological in method, process, and product. She explains how indigenous, professional, and amateur forms of pictorial/auditory materials are grounded in personal, social, cultural, and ideological contexts, and describes the non-Western critique of the Western traditions of visual anthropology. Her book is an excellent guide for ethnographic research, and for film and other media instruction concerned with cross-cultural representation.

In this meditation/how-to guide on drawing as an ethnographic method, Andrew Causey offers insights, inspiration, practical techniques, and encouragement for social scientists interested in exploring drawing as a way of translating what they "see" during their research.

"Worth had courage and originality enough not to take pictures for granted, but thought and struggled with some of the most difficult problems that cinematographers (and researchers in visual media) are faced with."—Edward T. Hall One of the central figures in the development of the study of visual communication, Sol Worth (1922-1977) was a filmmaker and painter before he turned to academic pursuits. He began with the question of how film could be understood and studied as a medium of communication and from there he moved on to the larger and more profound questions about the nature of visual media in general and the role that visual images play in shaping and constructing reality. Worth's pioneering work with Navajo filmmakers broadened our understanding of visual perception and communication even as it presented anthropologists with a means to achieve one of their most cherished goals: somehow to see the world through the eyes of their informants. The papers in this volume trace the development of Worth's thinking and research as he outlined the problems and issues that must be faced in the study of visual communication. He went further than anyone else in setting the intellectual agenda for the field, drawing upon such diverse disciplines as anthropology, sociology, psychology, linguistics, and semiotics. His broader interests are reflected in several papers that apply to problems and concerns of a more practical nature. Among them is Worth's innovative paper on the use of film in education. Worth's contributions to the serious task of understanding the role and potential of visual media and visual communication extend far beyond the intellectual realms of theory and speculation. Indeed, they speak clearly to issues facing all of us in a world that is so much shaped by visual communication.

News stories provide an essential confirmation of our ideas about who we are, what we have to fear, and what to do about it: a marketplace of ideas, shopped by rational citizen decision makers but also a shared resource for grounding our contested narratives of identity in objective reality. News as a fundamental social process comes into being not when an event takes place or when a report of the event is created but when that report becomes news to someone. As it moves off the page into the community, news discovers - through its interpretations - its reality in the lives of the consumers. This book explores the path of news as it moves through the tangled labyrinth of social identities and asserted interests that lie beyond the page or screen. The language and communication-oriented study of news promises a salient area of investigation, pointing the way to an expansion, if not a redefinition of basic anthropological ideas and practices of ethnography, participant observation, and “the field” in the future of anthropological research.