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IGNOU BSOS 184 Solved Assignment 2022-2023
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Important Note – IGNOU BSOS 184 Solved Assignment 2022-2023 Download Free You may be aware that you need to submit your assignments before you can appear for the Term End Exams. Please remember to keep a copy of your completed assignment, just in case the one you submitted is lost in transit.
Submission Date :
- 31st March 2033 (if enrolled in the July 2033 Session)
- 30th Sept, 2033 (if enrolled in the January 2033 session).
Answer the following in about 500 words each in Section A. Each question carry 20 marks.
Answer the following questions in about 250 words each in Section B. Each question carry 10 marks.
Answer the following questions in about 100 words each in Section C. Each question carry 6 marks.
1. Write an essay on Margaret Mead’s contribution to visual anthropology.
Margaret Mead, (born December 16, 1901, Philadelphia, Pennsylvania, U.S.—died November 15, 1978, New York, New York), American anthropologist whose great fame owed as much to the force of her personality and her outspokenness as it did to the quality of her scientific work.
Mead entered DePauw University in 1919 and transferred to Barnard College a year later. She graduated from Barnard in 1923 and entered the graduate school of Columbia University, where she studied with and was greatly influenced by anthropologists Franz Boas and Ruth Benedict (a lifelong friend). Mead received an M.A. in 1924 and a Ph.D. in 1929. In 1925, during the first of her many field trips to the South Seas, she gathered material for the first of her 23 books, Coming of Age in Samoa (1928; new ed., 2001), a perennial best seller and a characteristic example of her reliance on observation rather than statistics for data. The book clearly indicates her belief in cultural determinism, a position that caused some later 20th-century anthropologists to question both the accuracy of her observations and the soundness of her conclusions.
Her other works included Growing Up in New Guinea (1930; new ed., 2001), Sex and Temperament in Three Primitive Societies (1935; new ed., 2001), Balinese Character: A Photographic Analysis (1942, with Gregory Bateson, to whom she was married in 1936–51; reprinted 1962), Continuities in Cultural Evolution (1964; reissued 1999), and A Rap on Race (1971, with James Baldwin; reissued 1992).
During her many years with the American Museum of Natural History in New York City, she successively served as assistant curator (1926–42), associate curator (1942–64), curator of ethnology (1964–69), and curator emeritus (1969–78). Her contributions to science received special recognition when, at the age of 72, she was elected to the presidency of the American Association for the Advancement of Science. In 1979 she was posthumously awarded the Presidential Medal of Freedom, the United States’ highest civilian honour.
As an anthropologist, Mead was best known for her studies of the nonliterate peoples of Oceania, especially with regard to various aspects of psychology and culture—the cultural conditioning of sexual behaviour, natural character, and culture change. As a celebrity, she was most notable for her forays into such far-ranging topics as women’s rights, child rearing, sexual morality, nuclear proliferation, race relations, drug abuse, population control, environmental pollution, and world hunger.
Some of her other works were Male and Female: A Study of the Sexes in a Changing World (1949; 2nd ed., 1976); Anthropology: A Human Science (1964); Culture and Commitment (1970; new ed. 1978); Ruth Benedict (1974; new ed., 2005), a biography of that anthropologist; and Blackberry Winter (1972; reissued 1989), an autobiography of her own early years. Letters from the Field (1977; new ed., 2001) is a selection of Mead’s correspondence written during the Samoa expedition.
2. Discuss the nature of Participatory Documentary.
In the participatory mode “the filmmaker does interact with his or her subjects rather than unobtrusively observe them.” This interaction is present within the film; the film makes explicit that meaning is created by the collaboration or confrontation between filmmaker and contributor. Jean Rouch’s Chronicle of a Summer, 1960, is an early manifestation of participatory filmmaking. At its simplest this can mean the voice of the filmmaker(s) is heard within the film. As Nichols explains “what happens in front of the camera becomes an index of the nature of interaction between filmmaker and subject.” According to Nichols (2010), in the participatory mode of documentaries, “the filmmaker becomes a social actor (almost) like any other (almost because the filmmaker retains the camera and with it a degree of potential power and control over events)” (p. 139.) Through interviews, the filmmaker’s voice is shown as it combines contributing material about the story that they are trying to tell. An example of this is the machine invented by Errol Morris called the Interrotron. This machine allows for the subject to engage with the director directly while still being able to look into the lens of the camera.
The observational mode of documentary developed in the wake of documentarians returning to Vertovian ideals of truth, along with the innovation and evolution of cinematic hardware in the 1960s. In Dziga Vertov’s Kino-Eye manifestoes, he declared, “I, a camera, fling myself along…maneuvering in the chaos of movement, recording movement, startling with movements of the most complex combinations.” (Michelson, O’Brien, & Vertov 1984) The move to lighter 16mm equipment and shoulder mounted cameras allowed documentarians to leave the anchored point of the tripod. Portable Nagra sync-sound systems and unidirectional microphones, too, freed the documentarian from cumbersome audio equipment. A two-person film crew could now realize Vertov’s vision and sought to bring real truth to the documentary milieu.
Unlike the subjective content of poetic documentary, or the rhetorical insistence of expositional documentary, observational documentaries tend to simply observe, allowing viewers to reach whatever conclusions they may deduce. Pure observational documentarians proceeded under some bylaws: no music, no interviews, no scene arrangement of any kind, and no narration. The fly-on-the-wall perspective is championed, while editing processes use long takes and few cuts. Resultant footage appears as though the viewer is witnessing first-hand the experiences of the subject: they travel with Bob Dylan to England in D.A. Pennebaker’s Dont Look Back [sic] (1967,) suffer the stark treatment of patients at the Bridgewater State Hospital in Frederick Wiseman’s Titicut Follies (1967,) and hit the campaign trail with John F. Kennedy and Hubert Humphrey in Robert Drew’s Primary (1960.)
The reflexive mode considers the quality of documentary itself, de-mystifying its processes and considering its implications. It also includes filmmakers within the film. In Dziga Vertov’s Man with a Movie Camera (1929,) for example, he features footage of his brother and wife in the process of shooting footage and editing, respectively. The goal in including these images was, “to aid the audience in their understanding of the process of construction in film so that they could develop a sophisticated and critical attitude.” (Ruby 2005) Mitchell Block’s …No Lies (1974,) functioned in a notably different manner, as it reflexively and critically questioned the observational mode, commenting on observational techniques and their capacity for capturing authentic truths. In this way, the reflexive mode of documentary often functions as its own regulatory board, policing ethical and technical boundaries within documentary film itself.
The technique of using reenactment is an aspect of the reflexive mode of documentary. Allowing the director to show the audience their vision, or help visualize the vision of the interview subject of a particular event is direct communication with the audience. Errol Morris implemented the use of reenactment footage in the documentary “The Thin Blue Line” where Morris visualized the events of a man who was falsely accused of the killing of a police officer. Because there was no actual footage of the events that took place, Morris felt it was best to incorporate visual aids to help the audience have a better understanding of the situation. Although reenactments can be an important tool to use for a director to incorporate their vision, it heavily strays away from the Cinéma vérité style of documentary and is frowned upon by some documentary purists.
3. What are the ethical challenges to documentary film makers?
4. What do you understand by the term ‘male gaze’? Give suitable examples.
5. What is Culture Industry?
6. Cinema – verite
7. Thick and Thin description
8. Oral history
9. Dynamic shot
10. Camera movement
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IGNOU BSOS 184 Solved Assignment 2022-2023 Download Free Before attempting the assignment, please read the following instructions carefully.
- Read the detailed instructions about the assignment given in the Handbook and Programme Guide.
- Write your enrolment number, name, full address and date on the top right corner of the first page of your response sheet(s).
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IGNOU BSOS 184 Solved Assignment 2022-23 You will find it useful to keep the following points in mind:
- Planning: Read the questions carefully. IGNOU BSOS 184 Assignment 2022-23 Download Free Download PDF Go through the units on which they are based. Make some points regarding each question and then rearrange these in a logical order. And please write the answers in your own words. Do not reproduce passages from the units.
- Organisation: Be a little more selective and analytic before drawing up a rough outline of your answer. In an essay-type question, give adequate attention to your introduction and conclusion. IGNOU BSOS 184 Solved Assignment 2022-2023 Download Free Download PDF The introduction must offer your brief interpretation of the question and how you propose to develop it. The conclusion must summarise your response to the question. In the course of your answer, you may like to make references to other texts or critics as this will add some depth to your analysis.
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