144. Gellnerovský seminář – Gary Kildea



Česká asociace pro sociální antropologii


 Masarykova česká sociologická společnost

ve spolupráci s

Katedrou sociálních věd Fakulty filozofické Univerzity Pardubice

Vás srdečně zvou na



Gellnerovský seminář založen Jiřím Musilem a Petrem Skalníkem v roce 1998

 který se bude konat


tentokrát výjimečně vzhledem k časovým možnostem přednášejícího

v pondělí 15. září 2014 od 16:30 hod


v  místnosti Havel (dříve Richter), vedlejší budova New York University v Praze

Malé náměstí 11, Praha 1 – Staré Město (1. posch., vchod z pasáže)




Gary Kildea


na téma


A Poetics of ‘Ethnographic‘ Cinema




Zdeněk UHEREK,v.r., Alena MILTOVÁ,v.r., Michal TOŠNER,v.r.,

Daniela PĚNIČKOVÁ,v.r.


A Poetics of ‘Ethnographic’Cinema

Gary Kildea

The title is borrowed from David Bordwell’s book: ‚Ozu and the Poetics of Cinema. ‘Poetics’ in this context “refers to the study of how films are put together and how in determinate contexts, they elicit particular effects”. And then, according to Milan Kundera, one role of the novel is to save European science from its narrowness – its “forgetting of being” – by putting die Lebenswelt back at centre-stage. But is ethnographic film supposed to do something similar for anthropology? Or is cinema, in any form, an epistemological interloper that has no legitimate place in social science? Who knows? But by analysing excerpts we can, at least, pin down a few ‘particular effects‘ of films going about under the rubric: ‘ethnographic’.



Gary Kildea


Gary Kildea (b. 1948 in Sydney) has worked professionally with film since 1965 and achieved international recognition with his documentary TROBRIAND CRICKET in 1974 which he wrote and directed in tandem with the US anthropologist Jerry Leach. Gary belongs to a group of talented Australian filmmakers such as Ian Dunlop and Dennis O´Rourke who, inspired by new technologies and cinéma verité, moved to Papua New Guinea just as the island country was approaching independence. “We were of a 60s liberal ideology where the idea of the equivalence of all cultures had arrived, learning to make documentary films differently was all tied up with learning to respect other people, the people you´re filming, more.” Dennis O´Rourke, with whom Gary co-directed ILEKSEN in 1978 (about the first national elections to be held in post-colonial independent PNG) described their approach: “It was only with our early work that their language, and the complexity of their thought, their poetry, was revealed to be exactly the same as ours.”
Gary will illustrate his lecture with clips from his most memorable films, including CELSO AND CORA (where he applies his sensitive observational filmmaking to a young couple surviving in the slums of Manila, Philippines) and KORIAM´S LAW (2005) which within the framework of a dialogue between a European anthropologist and a PNG indigenous philosopher reveals the true nature and sophistication of Cargo Cult.