First Published in 2000. This book, a collection of ethnographic studies of Chinese schooling, aims to take the reader into Chinese schools and provide a picture of students and teachers as actors who practice culture. The case studies also provide a means by which ethnography is explored as a central methodological focus and concern. This book explores the meaning of ethnography, both in describing Chinese schools and in the broader context of the defined purposes and practices of research. This self-reflexive approach to school ethnography in China includes issues of cultural translation and the connections between the process of ethnographic work, the emergence of a text, and the construction of a theory.

[The author] ... weaves both methodological advice and her own personal stories into an intriguing narrative about a fictional graduate course she instructs. In it, readers learn about her students and their projects and understand the wide array of topics and strategies that fall under the label autoethnography. Through [her] interactions with her students, readers are given useful strategies for conducting a study, including the need for introspection, the struggles of the budding ethnographic writer, the practical problems in explaining results of this method to outsiders, and the moral and ethical issues that are raised in this intimate form of research.

Ethnographic Eyes extends ethnography beyond the work of university researchers and proves what an accessible and instructive observation tool it can be for inservice and preservice teachers.

It is commonly acknowledged that anthropologists use personal experiences to inform their writing. However, it is often assumed that only fieldwork experiences are relevant and that the personal appears only in the form of self-reflexivity. This book takes a step beyond anthropology at home and auto-ethnography and shows how anthropologists can include their memories and experiences as ethnographic data in their writing. It discusses issues such as authenticity, translation and ethics in relation to the self, and offers a new perspective on doing ethnographic fieldwork.

Charting the intersection of technology and ideology, cultural production and social science, Fatimah Tobing Rony explores early-twentieth-century representations of non-Western indigenous peoples in films ranging from the documentary to the spectacular to the scientific. Turning the gaze of the ethnographic camera back onto itself, bringing the perspective of a third eye to bear on the invention of the primitive other, Rony reveals the collaboration of anthropology and popular culture in Western constructions of race, gender, nation, and empire. Her work demonstrates the significance of these constructions--and, more generally, of ethnographic cinema--for understanding issues of identity. In films as seemingly dissimilar as Nanook of the North, King Kong, and research footage of West Africans from an 1895 Paris ethnographic exposition, Rony exposes a shared fascination with--and anxiety over--race. She shows how photographic "realism" contributed to popular and scientific notions of evolution, race, and civilization, and how, in turn, anthropology understood and critiqued its own use of photographic technology. Looking beyond negative Western images of the Other, Rony considers performance strategies that disrupt these images--for example, the use of open resistance, recontextualization, and parody in the films of Katherine Dunham and Zora Neale Hurston, or the performances of Josephine Baker. She also draws on the work of contemporary artists such as Lorna Simpson and Victor Masayesva Jr., and writers such as Frantz Fanon and James Baldwin, who unveil the language of racialization in ethnographic cinema. Elegantly written and richly illustrated, innovative in theory and original in method, The Third Eye is a remarkable interdisciplinary contribution to critical thought in film studies, anthropology, cultural studies, art history, postcolonial studies, and women's studies.

Ethnographic Film, which combines documentary filming and anthropological research, originated in the late 19th century. Early on, anthropologists used film to record cultures. Documentary filmmakers in the early 20th century developed different strategies, with technical developments aiding further advances. In the 1950s to 1970s, intense debates among anthropologists, filmmakers and artists, many of whom met regularly at conferences and festivals, took place on the methodology of ethnographic filmmaking. Their discussions were handed on by word of mouth, but rarely recorded or published. In 2001, the pioneers of ethnographic film met in Gottingen and put together their recollections of the genre's Origins, thus giving an unusual insight into the development of ethnographic film.

This work is a handbook which guides students step by step through interview techniques commonly used to research ethnography and culture. The text also teaches students how to analyze the data they collect, and how to write an ethnography.

"Here, the voice of Heeni, a relative of the current Maori Queen, chronicles the history of the Maori of New Zealand and the adaptations they have made to survive as a group in the modern world."--Jacket.