Convened By
\nCarole Lazio (USA) and Serge Lema\u00eetre (Belgium)<\/p>\n
Theme Details
\nCarole Lazio
\nIndependent researcher\/media consultant
\n55 West 55th St-#11 (PHS)
\nNew York, NY 10019 USA
\ncarolelazio@yahoo.com<\/p>\n
Serge LeMa\u00eetre
\nDoctoral candidate, Fonds Van Buuren
\nUniversit\u00e9 Libre de Bruxelles
\n50 av. Fr. Roosevelt, C.P. 175
\n1050 Brussels, Belgium
\nslemaitr@ulb.ac.be<\/p>\n
Ever since some of the earliest archaeological discoveries were recorded with clumsy 35mm equipment, progress in the field has been documented with varying success using an evolving and increasingly flexible gamut of moving image technology. These technological changes continue to affect the nature of what can conveniently be documented, and have been simultaneously transforming the economics of and possibilities for production and distribution of filmed images.<\/p>\n
Drawn from a range of cultural and social perspectives, papers included in this theme explore how moving images have been used over time as a technique for scientific research, documentation, and communication or have been employed to represent the discipline as a source of scientific or historical authority for national or cultural identification, definition, or propaganda.<\/p>\n
The sessions are meant to provide examples of opportunities offered by progressing beyond simple scrutiny for details of content accuracy toward a more nuanced appreciation of the power latent in the interplay between filmed images and archaeology.<\/p>\n
Organized By
\nSultana Zorpidu (Greece) and Peter S. Allen (United States)<\/p>\n
Session Details
\nThe genre of films dealing with archaeological topics can take many forms including fictional films, television documentaries, news reels, museum-produced videos, educational films, and animated films (cartoons). All of these can provide information of a general or specific nature about archaeological matters.<\/p>\n
However, their production style, commentary and the interpretations they offer often reflect political and national influences introduced by the biases of the filmmakers and\/or producers, the television channel, or the archaeologists themselves. As a result, films about archaeology must be seen as a means of using the past to derive or justify contemporaneous national or political systems. On this basis, we propose a provocative thesis: That many archaeological films reflect more about the political background of their time than they do about archaeology itself.<\/p>\n
Papers in this session will explore this topic in different countries, cultures, and time periods. Presentations include illustrative film and video clips from a variety of sources.
\nPresentations
\nNationalism In Archaeological Film: The Case In The United States
\nPeter S. Allen (Department of Anthropology, Rhode Island College, Providence, R.I., USA) Ancient Rome and Romanian Film in the Ceausescu Era
\nRuth Lindner (Vienna, Austria and W\u0192rberg, Germany)
\nMediatized Archaeologies And Domesticated Pasts: UK Television’s Stories About People And Things
\nAngela Piccini (PARIP-Practice as Research in Performance, Department of Drama, Theatre, Film, Television, University of Bristol, UK) “K\u00ddnnte Muttererde eindringlicher zu unssprechen?\u201d (\u201cCould Mother Earth Talk More Urgently to Us?”) Archaeology on film during the “ThirdReich”
\nTom Stern (Ruhrlandmuseum Essen, Essen, Germany)
\nArchaeology As A Political Enterprise: Film Archaeologists In National And Colonial Scenarios
\nSultana Zorpidu (Albert-Ludwigs-Universit\u2026t Freiburg Archaeologische Institut, Fahnenbergplatz, Germany) Archaeology as Graverobbing
\nAdam Fish (Graduate School of Architecture, Planning and Preservation, Columbia University, 21223 Marine View Drive, Seattle WA 98166 USA)
\nThe Foreign In Archaeological Film. About The Strategies Of Making The Foreign To Something Present
\nPatricia Rahemipour<\/p>\n
Session Time
\nDay Wednesday Date 25th June
\nTime 4-6pm Room Pryzbyla 323<\/p>\n
Organized By
\nSerge Lema\u00eetre (Belgium)<\/p>\n
Session Details
\nEn francais<\/p>\n
Cette session envisage de montrer l’importance de video comme un outil arch\u00e9ologique.<\/p>\n
Devenue plus petite, plus maniable, moins on\u00e9reuse, la vid\u00e9o peut \u00eatre emmen\u00e9e et utilis\u00e9e par tout et chacun. L’arch\u00e9ologue peut utiliser la vid\u00e9o comme simple outil de documentation de la fouille, pour dresser un portrait de l’\u00e9quipe et des techniques mises en oeuvre. Le r\u00e9sultat devient alors document historique et \u00e9pist\u00e9mologique. La vid\u00e9o peut \u00eatre un compl\u00e9ment au dessin et \u00e0 la photographie dans les diff\u00e9rents enregistrements. Comme pour les ralentis sportifs, ‘arch\u00e9ologue peut revoir toute sa s\u00e9quence de travail. Il peut ainsi faire des observations qui lui avaient \u00e9chapp\u00e9 auparavant.<\/p>\n
L’int\u00e9r\u00eat majeur du vid\u00e9o est de pr\u00e9senter des s\u00e9quences dynamiques et rendre perceptibles des \u00e9v\u00e9nements ou des plans qu’il est impossible d’obtenir autrement. Il vient imm\u00e9diatement \u00e0 l’esprit l’int\u00e9r\u00eat pour l’ethnoarch\u00e9ologie et l’arch\u00e9ologie exp\u00e9rimentale o\u00f9 des s\u00e9quences film\u00e9es peuvent rendre compte des diff\u00e9rentes \u00e9tapes pour fa\u00e7onner une poterie, faire une coul\u00e9e de bronze ou tailler un silex. L’\u00e9tude des \u0153uvres artistiques est \u00e9galement facilit\u00e9e par la vid\u00e9o. Par exemple, le chercheur en art rupestre peut capter de tr\u00e8s longues frises orn\u00e9es impossibles \u00e0 capter en une fois par la photographie ou encore, le film permet de faire des visites virtuelles de monuments sans en affecter la conservation.<\/p>\n
Nous le voyons une multitude d’emploi du film s’offrent aux arch\u00e9ologues. De plus, dor\u00e9navant, ces diff\u00e9rentes s\u00e9quences peuvent \u00eatre pr\u00e9sent\u00e9es sur des sites internet, seules ou en compl\u00e9ment d’un article \u00e9lectronique ou non.<\/p>\n
Pr\u00e9sentations repr\u00e9sentant un \u00e9cart de pays et cultures sont pr\u00e9vues.<\/p>\n
In english<\/p>\n
This session intends to stress video as an important tool in archaeological field work.<\/p>\n
Video equipment has become more compact, more user-friendly and less expensive, making it possible for the archaeologist to use the video camera to simply document an excavation or to create a portrait of the excavation team and the techniques used during their work. The resulting footage then becomes a historical and epistemological document.<\/p>\n
Video can function as a recording tool to complement drawing and photography in assembling site documentation. As with slow motion sequences in sports, this permits the archaeologist to review the whole work sequence and make observations that may have been overlooked previously.<\/p>\n
However, a unique advantage video offers over other recording tools is the ability to follow activities in transition and to record events or views that it would be impossible to capture effectively using other methods. Ethnoarchaeology and experimental archaeology, where filmed sequences can show stages of pottery manufacture or bronze casting, come to mind immediately.<\/p>\n
Video can also facilitate the study of works of art. For example, the rock art researcher can document very long decorated walls that it would be impossible to capture in a single photograph. It can also enable virtual visits to monuments without threatening their conservation.<\/p>\n
Thus there are a multitude of ways archaeologists can use video in the field. Furthermore, nowadays, a variety of these applications can be presented on the Web, on their own or as a complement to an article, whether in electronic or more traditional formats.<\/p>\n
It is anticipated that presentations will cover a diverse range of countries and cultures.<\/p>\n
Contact Information: Serge Lema\u00eetre (Belgium) slemaitr@ulb.ac.be<\/p>\n
Presentations
\nVisual Imagery, Artistic Representation And Story Telling In Archaeological Research
\nThomas Carr (Archaeologist, Colorado Historical Society, Denver) A Whisper of Palm Leaves : video and the ethnoarchaeological analysis of ancient technology
\nWilleke Wendrich (Asst. Prof. Egyptian Archaeology, Department of Near Eastern Languages and Cultures, Cotsen Institute of Archaeology at UCLA, USA)
\nThe Prehistoric Mounds Of Uruguay: Linking The Past And The Future<\/p>\n
Cecilia Manosa and A. Gwynn Henderson (Kentucky Archaeological Survey, USA) The Canadian Shield rock paintings: video and recording
\nSerge Lemaitre (Universit\u00e9 de Bruxelles, 50 av. Fr. Roosevelt, Brussels, Belgium)<\/p>\n
Session Time
\nDay Wednesday Date 25th June
\nTime 11.30AM-1PM Room Pryzbyla 323<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Convened By Carole Lazio (USA) and Serge Lema\u00eetre (Belgium) Theme Details Carole Lazio Independent researcher\/media consultant 55 West 55th St-#11 (PHS) New York, NY 10019 USA carolelazio@yahoo.com Serge LeMa\u00eetre Doctoral candidate, Fonds Van Buuren Universit\u00e9 Libre de Bruxelles 50 av. Fr. Roosevelt, C.P. 175 1050 Brussels, Belgium slemaitr@ulb.ac.be Ever since some of the earliest archaeological … Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2159,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-2198","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/pages\/2198","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/comments?post=2198"}],"version-history":[{"count":1,"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/pages\/2198\/revisions"}],"predecessor-version":[{"id":2786,"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/pages\/2198\/revisions\/2786"}],"up":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/pages\/2159"}],"wp:attachment":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac5\/wp-json\/wp\/v2\/media?parent=2198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}