This catalogue features photographs of the Nass River and the Nishga people taken between 1900 and 1950. Most of the collection represents the ethnographic fieldwork done by Marius Barbeau between 1927 and 1929.

Catalogue of archival photographs taken by Marius Barbeau between 1927 and 1929, of the Nishga Indian culture of the Nass River area in northern British Columbia. Includes material culture, portraits, totem poles and index of proper names, negative numbers by subject and negative numbers chronologically.

Marius Barbeau (1883-1969) played a vital role in shaping Canadian culture in the twentieth century. Rooted in the premise that his cultural work – in anthropology, fine arts, music, film, folklore studies, fiction, historiography – cannot be read uni-dimensionally, the sixteen articles that comprise this book demonstrate that by merging disciplinary perspectives about Barbeau, evaluations and understandings of the situation around Barbeau can be deepened.

This work provides access to information on the rich and often little known legacy of anthropological scholarship preserved in a diversity of archives, libraries and museums. Selected anthropological manuscripts, papers, fieldnotes, site reports, photographs and sound recordings in more than 150 repositories are described. Coverage of resources in North American repositories is extensive while Great Britain, France, the Netherlands, Australia and certain other countries are more selectively represented. Entries are arranged by repository location and most contributors draw upon a special knowledge of the resources described. Contributors include James R. Glenn (National Anthropological Archives), Elizabeth Edwards and Veronica Lawrence (Pitt Rivers Museum, University of Oxford), Francisco Demetrio, S.J. (Museum and Archives, Xavier University, Philippines) and many others. The guide covers selected documentation in social and cultural anthropology, physical anthropology, archaeology and folklore. Some major area studies collections (such as the Asia Collections, Cornell University Libraries, and the Melanesian Archive at the University of California, San Diego) are also represented. Web URLs have been cited when available and personal, and ethnic name indexes are provided.

El proyecto de recuperación de películas históricas Unseen Cinema explora en detalle los logros, desconocidos hasta la fecha, de los cineastas pioneros que desarrollaron su labor dentro y fuera de las fronteras de Estados Unidos durante el periodo formativo del cine americano. Con la colaboración de innumerables instituciones, desde los archivos de la Academia de Cine de Hollywood, el Museo de Arte Moderno de Nueva York (MOMA), el British Film Institute, el Deustchen Film museum hasta el Gosfilmofond de Russia, la recuperación de estas películas y su posterior organización en 7 discos postula una visión innovadora del cine experimental. Un buen número de estas películas no había estado disponible desde su creación hace más de un siglo, algunas nunca se habían proyectado en público, y en casi todos los casos, hasta ahora, no se disponía de una copia prístina de proyección. En palabras de su compilador se trata de rectificar una pequeña parte de la negligencia con la que se ha tratado a los primeros cineastas y películas de vanguardia. Pese a la exhaustiva labor de busca y rastreo por parte de Posner y otros historiadores del cine para desenterrar las copias de los filmes incluidos en la colección, a día de hoy muchas no han sido recuperadas.

Excluded Ancestors focuses on little-known scholars who contributed significantly to the anthropological work of their time, but whose work has since been marginalized due to categorical boundaries of race, class, gender, citizenship, institutional and disciplinary affiliation, and English-language proficiency. The essays in Excluded Ancestors illustrate varied processes of inclusion and exclusion in the history of anthropology, examining the careers of John William Jackson, the members of the Hampton Folk-Lore Society, Charlotte Gower Chapman, Lucie Varga, Marius Barbeau, and Sol Tax. A final essay analyzes notions of the canon and considers the place of a classic ethnographic area, highland New Guinea, in anthropological canon-formation. Contributors include Peter Pels, Lee Baker, Frances Slaney, Maria Lepowsky, George Stocking, Ronald Stade, and Douglas Dalton.

Living Our Cultures, Sharing Our Heritage: The First Peoples of Alaska features more than 200 objects representing the masterful artistry and design traditions of twenty Alaska Native peoples. Based on a collaborative exhibition created by Alaska Native communities, the Smithsonian's National Museum of Natural History, the Smithsonian's National Museum of the American Indian, and the Anchorage Museum at Rasmuson Center, this richly illustrated volume celebrates both the long-awaited return of ancestral treasures to their native homeland and the diverse cultures in which they were created. Despite the North's transformation through globalizing change, the objects shown in these pages are interpretable within ongoing cultural frames, articulated in languges still spoken. They were made for a way of life on the land that is carried on today throughout Alaska. Dialogue with the region's First Peoples evokes past meanings but focuses equally on contemporary values, practices, and identities. Objects and narratives show how each Alaska Native nation is unique—and how all are connected. After introductions to the history of the land and its people, universal themes of “Sea, Land, Rivers,” “Family and Community,” and “Ceremony and Celebration” are explored referencing exquisite masks, parkas, beaded garments, basketry, weapons, and carvings that embody the diverse environments and practices of their makers. Accompanied by traditional stories and personal accounts by Alaska Native elders, artists, and scholars, each piece featured in Living Our Cultures, Sharing Our Heritage evokes both historical and contemporary meaning, and breathes the life of its people.

During his career as an architect, he designed major public buildings such as the Quebec Music Hall, Laval University, Sainte-Marie de Beauce church, and Dufferin Terrace, and was supervising architect for the first Parliament Buildings in Ottawa. He was responsible for introducing Gothic and Greek Revival styles to Quebec city and fostered the use of contemporary materials in residential and commercial structures. Christina Cameron's biography of this remarkable man includes an analysis of innovations in architectural design and construction technology in Quebec City during the middle of the nineteenth century, and includes a discussion of the radical change in the role of the architect from the architect/artisan of the previous century to the professional man who no longer took any part in the actual construction. In this first full-scale study of Baillairgé, Cameron has provided a fascinating picture not only of the life of an important architect but of developments in Canadian architecture during this period.

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Before the west was widely settled, photographs provided the first glimpse white society had of the aboriginal people who occupied the hinterlands of the continent. Copying People - a phrase borrowed from the Haida of the Queen Charlotte Islands that means "camera" - is a collection of historical photographs chosen from the vast number of images in museums and archives across North America. Taken by professional photographers, surveyors, anthropologists, civil servants, and tourists, these fascinating images show how early non-Native photographers "pictured" First Nations people and influenced the outside world's perceptions of them. Many of these photographs attempt to document the "traditional" Indian, with their subjects dressed up in wigs, costumes, and other props provided by the photographer. In an effort to record for posterity what they viewed as a doomed race, the photographers helped construct the "idea" of the Indian in the collective mind of white society. Other photographers used images of Native people for commercial purposes, or pictured their subjects in suits and dresses, hoping to appeal to an audience eager for evidence that Natives were becoming "civilized." Depicting Native societies under a great deal of stress at a time of tremendous change in their way of life and their environment, the photographs also reveal societies struggling to preserve their cultures and successfully adapting to new economic opportunities. And despite what we might think of their motives, many photographers produced images of remarkable power and enduring beauty. Covering all of British Columbia, the book represents the work of every important photographer dealing with aboriginal people in the province before World war II. With 140 archival images, Copying People offers a privileged glimpse of British Columbia's original inhabitants.