through navajo eyes: tne iindex

8/7/2019 THROUGH NAVAJO EYES: tne iindex

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Index

Achtenberg, Ben, 229, 235, 249actors, Navajo, 139, 181-89Albert, Ethel, 75, 131analysis of data from this study,

132-41Anderson, Mike, 54-57, 69, 79, 82,

95-96, ~ - 6 ,171-79, 186-89, 193,206, 209, 226, 238, 264, 266, 271Anderson, Terry Lee, 69

Annenberg School of Communi-cations, 174, 181, 197, 239, 246

Antelope Lake, 129, 171, 205, 206, 271anthropologys use of film, 12-20The Ants, 266Appeal of film, 55 , 257-58art, bio-documentary film as a

form of, 261-62Asch, Timothy, 13Astrov, Margot, 199Balikci, Asen, 13Baloo, Aka, 148Baloo, John, 146, 148Barnett, Homer G., 30Bateson, Gregory, 13Benally, Floyd, 68Benally, Susie, 56-57, 67-69, 80-84,

101,108-26,144, 148-49, 15.5, 178-797

183, 192-98, 202, 236, 250, 260, 266-bio-documentary films: as art

form, 261-62; as a communica-tion mode, 19-20; defined, 24;asdistinct from documentaryfilms, 24-27; group-made, 228-51;as a tool in culture study, 256-57Birdwhistell, Ray L., 14

black teenagers films, 47-48, 101,169-71, 189, 228-51

Bouman, Jan C., 13The Boys on the Seesaw, 265-66Brown-Lennenberg study, 175Burnsides, Husky, 4Burnsides, Mabel, 67Burnsides, Mark, 72Burnsides, Ruby, 72

68, 272-73

cademes, 89-93camera, teaching Navajo to use,Chomsky, Noam, 17, 44, 137

81-86Clah, A4 5 0 , 5 2 , 5 6 - ~ 7 , 6 0 - 6 2 , 7 5 , 7 9 ,

82, 86, 94-97, 101-9, 127, 144, 154-59, 178, 183, 202-3, 208-27, 266,271-72

close-ups of faces, 152-65


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282 )code: analysis of, 140-41; in visualcodes in context theory, 133-41, 233cognitive processes: Navajo, 193-

98; and visual communication,28

communication, 43-47

Collier, John, 34Collier, John Jr. , 13, 46communication: breakdown be-

tween different groups, 251;codes, 17-20, 43-47, 133-41; andcognition, 28; cross-cultural, 12-13; and dream interpretation,258-60; via film, 11-20; researchon, 6, 13-14, 43-47; verbal vs.visual, 258

community: how chosen for thisstudy, 47-52; response to films,128-31, 140

Community Film WorkshopCouncil, 229content analysis of films, 4 6 4 7

context: and code theory, 133-41; asfilmmaking element, 233; thisstudys observations on, 139-41

Cornell University Medical Col-lege research, 29

cultures: communication be-tween, 12-13; and structuring ofreality, 253-54; variance infilmmaking among, 228-51, 256-57; and visual communication, 28

Index261-62; group-made,228-51; socio-documentary, 24--27,231; as a toolin culture study, 256-57Dont Make a Good Girl Go Bad, 234,250dream interpretation, and film,258-60

data analysis for this study, 132-41Dedicated Soul Sisters, 234, 250developmental structure of a film,Documentary Film Laboratory,

250documentary films: bio-documen-taries, 19, 24-27, 228-51, 256-57,

89-93

economic obligations, Navajoedemes, 89-93Edgerton, Robert B., 13editing of film, 86-89, 166-80,Eisenstein, Sergei, 21Ekman, Paul, 14equipment handling, 190-98Ethnography of Communica-ethnography of filmmaking, 231-33,eventing, 199-207

view of, 182-89

190-98

tion, 133

248

face close-ups, 152-65Fejos, Paul, 13Ferguson, Robert, 229field research, suggestions on fur-

ther, z s z - 6 ~film: cademes, 89-93; code, 43-47;

communication via, 16-20,43-47;content analysis, 46-47; develop-mental structure of, 89-93; anddream interpretation, 258-60;edemes, 89-93; editing, 86-89,166-80, 190-98; ethnography of,231-33, 248; grammar of, 45; loca-tions, 238-41; motion aspects of,199-207; motivating appeal of, 55;Navajo taught to use, 74-127;parallel to language? 21-30, 43-47 ; primitive peoples use of,


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Index260-61; how is reality presentedin? 11-20; semiotics of, 27; se -quen cing of, 166-80;splicing, 88-89; s t ructur ing of, 11-20, 89-93,16680, 244-48; symbolism of,16680; themes in, 248-51; univer-sal appeal of, 257-58; vidistics of,27fi lms: documentary, 19, 24-27. 2 2 8 -51; group-made, 228-51; IntrepidShadows analyzed at leng th, 208-27; Navajo, summarized, 263-73;of Navajo making films, 123-27;new cinema, 247-48; practice,263-67; premiere of Navajos,128-31; where available, %Flaherty, Robert , 261Flaherty Film Seminars, 61

283

Gajdusck, D.C., 14Gardner , Rober t, 13, 46Gerb ner , George , 47Goldschm idt , Walter, 13Gombrich, Ernes t H. , 19Goodenough, Ward H., 30Goodman, Nelson, 21grammar of film, 45grammatical i ty, 23 , 138group filmmaking, 228-51Haile, Berard, 213Haley , Jay, 229, 234Hal l , Edward, 110,156handling of equipment , 190-98Han i , Susumi , 62Harrison, Randal l P., 14Hoi jer , Harry , 178-79, zoo, 204Ho lmb erg, Allan R. , 29, 30Hous ton Comm uni ty Cen te r, 233,Hymes, Del l , 132-33, 230250

image: in group films, 244-48; or-ganization, 195-98; study of the,5innovation: guided, 29; Navajo ac-ceptance of, 74-75

interdisciplinary research, 132-33Intrepid Shadows, 130, 154, 2 0 5 , 208-Intrepid Shadow s (poem), 101-227, 261, 271-72

Japanese, and Navajo as alike,John Adair Hangs Out the Laundry,The Jungle, 250Kahn, Alta, 67, 84, 101,111-26, 148-Kessler, Hope, 18The Kil l ing of Tracking Bear ,Kluckhohn, Clyde, 39

61-62265

49. 250, 260, 272-73

148

Langer , Susanne, 259language: acq uisit ion, 17, 43-47,137;film as if it were, 21-30; how termused in this study , 13% verbal VS.visual, 258Larson, Rodger, 7, 229-30, 249Laybourne, Lawrence, 7learning situation, 139Leighton, Alex H., 13Leighton, Dorothea C., 13, 39Leites, Nathan, 47Lenneberg-Brown s tudy, 175LCvi-Strauss, Claud e, 143-44l inguistic approach to fi lm, 21-locale restrictions in Navajo film,

30181-89


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284 Indexeconomy, 36-37; history, 33-34;identity crisis, 40; innovationsaccepted by, 74-75; and Japaneseas alike, 61-62; language, 111-23;life described, 31-41; motion ascentral to, 199-207, 217; myth-ology, 142-43, 147-50, 205-7, 225-26; religion, 37-39; socialorganization, 35-37; studentsbackgrounds, 63-73; taught touse film, 74-127; tribal govern-ment , 34-35; value systems, 2 8 -29,57-58,131; wh y chosen for thiss tudy, 27-28

The Navajo Horse, 264-65The Navajo Silversmith, 204-5, 268A Navajo Weaver, 204-5, 267-68Negro . See blackNelson, Johnny, 8, 41, 51-56, 71-72,

78-79? 82,867 93,9698, 101-37 107-10, 30, 36, 144-46, 51-55, 183-88,193-96, 201-9, 213, 217, 222-27, 250,262, 264-65, 268-70new cinema, 247-48Night Chant , 147, 149The Noble Teens , 234nonverbal communication, 13; see

Not Much to Do, 48,101, 240, 242, 250alsovisual communication

locations, cross gr ou p com parisonlong journey myth, 205-7

Of, 238-41

McCabe, Maurice, 85McNeill, David, 4Malinowski, Bronislaw, 12,262Marriage Counselling Service, 257Matthews, Washington, 213Mead, Margaret, 13, 47Meade, Ellen, 7, 229Medium Cool, 245Messaris, 246-47Metraux, Rhoda, 47Mills, George, 13The Monkey Bars, 266Morgan, William, 84motion in Navajo films, 199-207,motion pictures . See filmsMt. Sinai Medical School, 7, 257movies. See filmsmythical analysis, 142-43my ths, Navajo: in films, 225-26; onlong journey and origin, 205-7;walking in, 147-48, 150

2171 255

Nanook of the North, 261narrative style of Navajo films:face close-ups, 152-62; mythicalanalysis, 142-43; walking, 144-52National Insti tute of MentalHealth, 256natural environment in Navajofilms, 107-8Navajo: actors, 139, 181-89; avoid-ance of face close-ups, 152-65;balance as important to, 57-58;cul ture , 31-41; curing ceremo-nies, 37-38; dexteri ty in equip-ment handling, 190-98;

Old Antelope Lake. See Antelopeorigin myths , 205-7Osgood, Charles E., 14Oxford Filmmaking Cooperative,

Lake -

2357 2 5 0

Panofsky, Erwin, 19Pavatea, Dorothy, 71Pavatea, Tom, 71Pavatea, Tom Jr., 71


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Indexperception: differences in, 95; pro-

peyote cult, 39Philadelphia Child GuidancePhiladelphia group filmmaking,Pine Springs, Arizona, 3,40-41,49,The Piiion Tree, 264Porter, Edwin, 90-91practice films, 93-108premiere of films, 128-31primitive peoples' use of film,processing equipment, 261property rights, Navajo, 182-89

cesses of Navajo, 193-98

Clinic, 234, 257228-51

255

260-61

reality, how structured thru film?

research: content analysis of visualmaterials, 46-47; interdiscipii-nary, 132-33; method used in thisstudy, 42-62; similar to this pro-ject's, 256-57; socio-documen-tary, 233-37; suggestions forfurther, 252-62; on visual code,43-47; on visual communica-tions, 6-8, 13-14

The Robbery, 234Robbin, Dan, 249Rouch, Jean, 46Rough Rock Demonstration

School, 39-40

11-20, 253-54

Sapir, Edward, 28, 177, 180, 207Scholte, Bob, 6semantics of film, 167semiotics of film, 27sequencing film events, 166-80

settings, cross-group comparisons

The Shallow Well, 130, 250, 269-70Shipley School Project, 235Skinner, B.F., 44socio-cultural context of filmmak-sociodocumentary films, 231-37Sorenson, E.R., 14speech. See languageSpencer, Katherine, 226Spicer, Edward H., 30Spindler, George D., 13The Spirit o f the Navajo, 130, 269splicing, film, 88-89status in filmmaking activity,Stoddard, Robert, 235story line in group films, 248-51structure of films: developmental,

89-93; of group-made, 244-48;and reality, 253-54; and symbol-ism, 166-80

students used in this study: back-grounds of, 63-73; how chosen,49-59, '39subject matter: of group films, 241-44, 248-51; of Navajo films, 139,181-89; restriction on range of,

Of, 238-41

ing, 228-51

244-48

256The Summer Shower, 264suspense in Navajo films, 205The Swing, 266symbolic structure of films, 166-80,syntax of film, 167-68Tabernacle Film Project, 235, 25 0teaching another culture to use

19697

film, 254-55, 259


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286 )teaching Navajos to use film, 74-

127teenagers films, 47-48, 1 0 1 , 169-71,189, 228-51

themes: of group films, 241-44,248-51; of Navajo films, 139,181-89;re-stricted range of, 256

Tracking Bear, 148Tsosie, Juan, 41, 56-60, 63, 65, 72Tsosie, Mary Jane,56,58,63-68,80-

82, 86, 103-4, 172, 265, 269: see alsoTsosie sistersTsosie, Maxine, 56,58,63-68,80-82,265-66, 269; see also Tsosie sisters

Tsosie sisters, 128, 130, 144-45, 156-12th and Oxford Filmmaking

93-94, 98-100, 103-43 1711 99, 226,

65, 172, 183, 250Cooperative, 235, 250

I ndexvidistics, 27visual communication: and codes

in context theory, 137-41; codingof, 17-20; and cognitive pro-cesses, 28; cross-cultural, 12-13;and ethnography of film, 231-33;image selection in, 258; researchon, 6, 13-14, 43-47Vogt, Evon Z., 30, 74

universal appeal of film, 257-58universals in film communica-University Settlement Film Club,

tion, 134-35230

value systems: Navajo, 57-58,131; asverbal vs. visual communication,

revealed in film, 28-29

258

walking, in Navajo films, 144-52,What WeDo. . . on Saturday. . .,234,

250white vs. black teenage film-makers, 239-51

Whorf, B.L., 28, 199Whorf Sapir hypothesis, 28, 177,Wilder, Mitchell, 150Wolfenstein, Martha, 47workshops, film, 228-51world premiere, 128-31Worth, Mrs. Sol, 124-25

204, 20 5

180, 207, 258

Yazzie, Florence, 71Yazzie, Sam, 3-5, 50, 58, 65, 69,

103-5, 129, 156-651 172, 183Zillmann, 18


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through navajo eyes: tne iindex

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