Recreating First Contact explores themes related to the proliferation of adventure travel which emerged during the early twentieth century and that were legitimized by their associations with popular views of anthropology. During this period, new transport and recording technologies, particularly the airplane and automobile and small, portable, still and motion-picture cameras, were utilized by a variety of expeditions to document the last untouched places of the globe and bring them home to eager audiences. These expeditions were frequently presented as first contact encounters and enchanted popular imagination. The various narratives encoded in the articles, books, films, exhibitions and lecture tours that these expeditions generated fed into pre-existing stereotypes about racial and technological difference, and helped to create them anew in popular culture. Through an unpacking of expeditions and their popular wakes, the essays (12 chapters, a preface, introduction and afterward) trace the complex but obscured relationships between anthropology, adventure travel and the cinematic imagination that the 1920s and 1930s engendered and how their myths have endured. The book further explores the effects - both positive and negative - of such expeditions on the discipline of anthropology itself. However, in doing so, this volume examines these impacts from a variety of national perspectives and thus through these different vantage points creates a more nuanced perspective on how expeditions were at once a global phenomenon but also culturally ordered.

How do images circulating in Pacific cultures and exchanged between them and their many visitors transform meanings for all involved? This fascinating collection explores how through mimesis, wayfarers and locales alike borrow images from one another to expand their cultural repertoire of meanings or borrow images from their own past to validate their identities.

The archive is a source of power. It takes control of the past, deciding which voices will be heard and which won't, how they will be heard and for what purposes. Indigenous archivists were at work well before the European Enlightenment arrived and began its own archiving. Sometimes at odds, other times not, these two ways of ordering the world have each learned from, and engaged with, the other. Colonialism has been a struggle over archives and its processes as much as anything else.The eighteen essays by twenty authors investigate different aspects of this struggle in Australia, from traditional Indigenous archives and their developments in recent times to the deconstruction of European archives by contemporary artists as acts of cultural empowerment. It also examines the use of archives developed for other reasons, such as the use of rainfall records to interpret early Papunya paintings. Indigenous Archives is the first overview of archival research in the production and understanding of Indigenous culture. Wide-ranging in its scope, it reveals the lively state of research into Indigenous histories and culture in Australia.

This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Beyond Observation is structured by the argument that the ‘ethnographicness’ of a film should not be determined by the fact that it is about an exotic culture – the popular view – nor because it has apparently not been authored – a long-standing academic view – but rather because it adheres to the norms of ethnographic practice more generally. On these grounds, the book covers a large number of films made in a broad range of styles across a 120-year period, from the Arctic to Africa, from the cities of China to rural Vermont. Paul Henley discusses films made within reportage, exotic melodrama and travelogue genres in the period before the Second World War, as well as more conventionally ethnographic films made for academic or state-funded educational purposes. The book explores the work of film-makers such as John Marshall, Asen Balikci, Ian Dunlop and Timothy Asch in the post-war period, considering ideas about authorship developed by Jean Rouch, Robert Gardner and Colin Young. It also discusses films authored by indigenous subjects themselves using the new video technology of the 1970s and the ethnographic films that flourished on British television until the 1990s. In the final part of the book, Henley examines the recent work of David and Judith MacDougall and the Harvard Sensory Ethnography Lab, before concluding with an assessmentof a range of films authored in a participatory manner as possible future models.

Winner of the 2022 W.K. Hancock Prize presented by the Australian Historical Association Shortlisted for the 2021 Prime Minister's Literary Awards in the Australian History Category presented by the Australian Prime Minister and Minister for the Arts Winner of the 2021 Council for Museum Anthropology Book Award presented by the Council for Museum Anthropology (CMA), a section of the American Anthropological Association By analyzing one of the world's greatest collections of Indigenous song, myth, and ceremony—the collections of linguist/anthropologist T. G. H. Strehlow—Ceremony Men demonstrates how inextricably intertwined ethnographic collections can become in complex historical and social relations. In revealing his process to return an anthropological collection to Aboriginal communities in remote central Australia, Jason M. Gibson highlights the importance of personal rapport and collaborations in ethnographic exchange, both past and present, and demonstrates the ongoing importance of sociality, relationship, and orality when Indigenous peoples encounter museum collections today. Combining forensic historical analysis with contemporary ethnographic research, this book challenges the notion that anthropological archives will necessarily become authoritative or dominant statements on a people's cultural identity. Instead, Indigenous peoples will often interrogate and recontextualize this material with great dexterity as they work to reintegrate the documented into their present-day social lives. By theorizing the nature of the documenter-documented relationships this book makes an important contribution to the simplistic postcolonial generalizations that dominate analyses of colonial interaction. A story of local agency is uncovered that enriches our understanding of the human engagements that took, and continue to take, place within varying colonial relations of Australia.

An in-depth look at the making of Star Trek: First Contact, featuring rare and previously unseen production art and new and exclusive cast and crew interviews. Twenty-five years ago, Star Trek: First Contact saw Picard, Data, and the Enterprise crew go back in time to stop the Borg before they could prevent Earth’s first contact with an alien species and assimilate the entire planet. Celebrate this landmark anniversary by taking a deep dive into the stories behind this beloved film. This beautiful coffee-table book is full to the brim of archival material, behind-the-scenes photography, concept art, production designs, and much more, and includes new and exclusive interviews with cast and crew, including Jonathan Frakes, Alice Krige, Rick Berman, Brannon Braga, Ronald D. Moore, Marina Sirtis, Herman Zimmerman, and Michael Westmore.

The origins of anthropology lie in expeditionary journeys. But since the rise of immersive fieldwork, usually by a sole investigator, the older tradition of team-based social research has been largely eclipsed. Expeditionary Anthropology argues that expeditions have much to tell us about anthropologists and the people they studied. The book charts the diversity of anthropological expeditions and analyzes the often passionate arguments they provoked. Drawing on recent developments in gender studies, indigenous studies, and the history of science, the book argues that even today, the ‘science of man’ is deeply inscribed by its connections with expeditionary travel.

This book explores the people of the Kikori River Delta, in the Gulf of Papua, as established historical agents of intercultural exchange. One hundred years after they were made, Frank Hurley’s colonial-era photographic reproductions are returned to the descendants of the Kerewo and Urama peoples, whom he photographed. The book illuminates how the movement, use, and exchange of objects can produce distinctive and unrecognised forms of value. To understand this exchange, a nuanced history of the conditions of the exchange is necessary, which also allows a reconsideration of the colonial legacies that continue to affect the social and political worlds of people in the twenty-first century.

This topical and conceptually innovative book proposes new perspectives on the theme of materiality which, since the 1980s, has animated work across and within disciplines in the Humanities and Social Sciences. The particular focus of the chapters in this volume is the materiality of knowledge produced through embodied encounters between people, places, and things in the Pacific Islands, New Guinea, Australia, and Myanmar. The authors consider how materiality mediates the ways in which knowledge is generated or acquired in encounters and becomes expressed through things and material forms of inscription – charts and maps; journals, letters, and reports; drawings; objects; human remains; legends, cartouches, captions, labels, marginalia, and notes; and published works of all kinds. The essays further address processes whereby materialized knowledge is archived, conserved, distributed, restricted, or dispersed – through serendipity, excess, loss, silence, absence, and suppression. This book will be of great interest to upper-level students, researchers, and academics in History, Anthropology and Oceania Studies. The chapters in this book were originally published as a special issue of History and Anthropology.

During the interwar period Osa and Martin Johnson became famous for their films that brought exotic and far-off locations to the American cinema. Before the advent of mass tourism and television, their films played a major part in providing the means by which large audiences in the US and beyond became familiar with distant and 'wild' places across the world. Taking the celebrity of the Johnsons as its case study, this book investigates the influence of these new forms of visual culture, showing how they created their own version of America's imperial drama. By representing themselves as benevolent figures engaged in preserving on film the world's last wild places and peoples, the Johnsons' films educated US audiences about their apparent destiny to rule, contributing significantly to the popularity of empire. Bringing together research in the fields of film and politics - including gender and empire, historical anthropology, photography and visual studies - this book provides a comprehensive evaluation of the Johnsons, their work and its impact. It considers the Johnsons as a celebrity duo, their status as national icons, how they promoted themselves and their expeditions, and how their careers informed American expansionism, thus providing the first scholarly investigation of this remarkable couple and their extensive output over nearly three decades and across several continents.