Art and documentary film tend to flourish during times of political turbulence. Reactionary movements and outspoken protest particularly in American and African societies helped propel the use of ethnographic film in activism. Tumultuous times fueled some ethnographic filmmakers to be conscious of sociopolitical events. These aspects would sometimes become inadvertently related to the cultures being studied. One such filmmaker affected by social strife was Timothy Asch. Asch began creating his own films in Uganda among pastoralist tribes. Key issues of warfare, violence within society, and root causes of aggressive behavior surrounded Asch’s work among the Yanomamö. He also explored the realm of trance possession amid Balinese séance mediums. His filmic style employed many new tactics including observational filming and the use of anthropologist involvement within reflexive cinema. This paper will analyze the filmic style of Asch while also bringing into context controversies surrounding certain films.
There are many components pointing to the influences of John Marshal during Asch’s formative years of filmmaking. Asch helped develop sequence filming when working with Marshal on his !Kung films, while also advocating for subtitle usage in certain works (Loizos 1993: 23). He thought about the concept of event filming while emphasizing spontaneity in sequences and keeping order of interaction without editing other elements into a scene (Asch 1979: 2). It was during this time that Asch began to develop his own style of creating material driven by sequence filming accompanied by synchronous sound to capture social interaction and pushing the length of scenes without many breaks (Loizos 1993: 24).
The first film created by Asch revolved around Ugandan pastoralists and their attempts at farming millet. Dodoth Morning from 1961 opens with a slide show of still photography, which will eventually become signature to Asch’s films. The opening montage slide show is followed by title cards explaining what the viewer will be witnessing. This creates a context to process what the viewer will observe but can also create a bias reaction if not perceived objectively. Narration is used to convey a general understanding of family social structure among the Dodoth. His use of narration appears to be in an infant stage since it lacks the process of giving a voice to the people being filmed. The use of synchronized sound is apparent but does not seem concerned with what is being spoken by the subjects. Selective narration is used in order to bring context to scenes. The purposeful use of tension is seen during a family argument. The tone of narration follows a path of excited emotion and a presence of anger. This tension motif technique will be seen in Asch’s later films, especially within the Yanomamo series.
Asch’s notoriety spawns mainly from the films on Yanomamö culture in southern Venezuela. For these films Asch collaborated with anthropologist Napoleon Chagnon in 1968 and 1971 (Asch 1979: 3,5). Chagnon’s input and ideas about the Yanomamö are interlaced within each film. This constant duality makes it hard to decipher where Asch’s style exists. During this time the team created thirty-seven short films ranging from 15-30 minutes and employed a new sound sync rig crucial to true observational cinema (Asch 1979: 3). Delegating compensation to subjects being filmed was a concept heavily conceived by Asch (Asch 1992: 198). Unfortunately certain forms of compensation would prove to be extremely detrimental to the Yanomamö way of life. The ethnographer must remain conscious of the consequences associated with bringing in foreign items and practices to cultures who have not adopted western lifestyles. Influences such as weaponry, medicine, and religion are more likely to be deleterious rather than helpful within an indigenous society.
The stylistic method of event filming becomes more apparent within the Yanomamö film series. Asch wanted to present these films as a testament to research and academic instruction (Asch 1979: 4). When discussing these films it is best to separate the undertones associated with Chagnon and those coming from Asch. Chagnon was interested in exposing the Yanomamö as “fierce warriors” where Asch focused on their ritual and daily life practices (Chagnon 1968). Asch stressed the ethical importance of building trust between anthropologists and their subjects while maintaining a balance of involvement within the society being filmed (Asch 1992: 196-97). Asch and Chagnon’s collaboration may have been born out of necessity and mutual benefit.
The Axe Fight opens with a scene of high tension reminiscent to previously discussed scenes of drama in Dodoth Morning. A fight is about to ensue due to a kinship dispute that took place earlier that day. The camera seems to be abruptly turned on and shaky. A voice is heard in the background saying, “it’s starting, it’s starting” as to heighten the dramatic effect. The film is separated into two parts, first an observational approach without editing except when changing lenses, followed by an edited version. The edited version stands to highlight specific moments of hostility. These moments are then analyzed seeking to justify Chagnon’s notion of the “fierce warrior” operating in a self-governed autonomous society.
A Man Called “Bee” opens with a map graphic pinpointing where the Yanomamö reside. This technique was very cliché at the time in ethnographic filmmaking. It invokes a sense of mental hierarchical separation, creating a distance between the viewer and subjects. This film presents anthropologist Napoleon Chagnon as the main subject. The opening scene shows Chagnon marching into the central plaza dressed in Yanomamö ritual wear. This single act of solidarity is a statement that he has now broken down the cultural barriers and become one with their society. The entire film concentrated on retracing the steps of Chagnon, which could be considered a narcissistic method of story telling (Ruby 1980: 160). Reflexivity is apparent during Chagnon’s prevalent narration and therefore not limited to the visuals. In certain scenes Asch’s voice can be heard in the background while sound booms and other film equipment come into the frame. Whether this was intentional or not cannot fully be understood. However, the technique of “participant observation” is absolutely universal throughout the entire film.
One interesting technique is the attempt to translate myths of the Yanomamö into English. This well documented sequence of Chagnon working with elders gives the Yanomamö a voice and expresses a genuine interest in their way of life. Chagnon is continually portrayed as a hero figure, existing to bring the Yanomamö into the light. This hero mentality is quickly tarnished when looked at below the surface. While attempting to create a bond through compensation, Chagnon can be seen irresponsibly handed out machetes, knives, and fishhooks in exchange for filming cooperation. Due to these actions Asch and Chagnon are no longer strictly observers. They have inadvertently contributed outside factors that foreshadowed the downfall of Yanomamö society. A false sense of altruism begins to take shape. Handing out medicine and tools may appear to be noble deeds but are actually foreshadowing a much darker agenda yet to come.
Chagnon in collaboration with geneticist Dr. James Neel began vaccinating the Yanomamö population with Edmonston B measles vaccination knowing full well that this particular vaccination comes with a high risk to those with delicate immune systems (Tierney 2000: 54). As a result of these vaccinations the population fell victim to a widespread measles epidemic (Tierney 2000: 54). Filming continued and ignored all notions of the epidemic taking place around them. Asch unknowingly captured evidence of human rights abuse while recorded Neel’s instruction on vaccination (Tierney 2000: 55). Around this time Asch and Chagnon began filming The Feast. The warrior attitude becomes apparent as two villages hold a feast in hopes of rebuilding a military alliance. The film relies heavily on the use of still photographs and narration to explain the unfolding situation. A feeling of compassion is also instilled on the viewers psyche as village members exchange valuables, creating a comradeship between previous enemies. The film ends by explaining through intertitles how the newly formed coalition raided a nearby village where a woman was incidentally killed. This is used to affirm Chagnon’s notion of violent behavior within the group.
The exposure and training of youth to cultural practices within Yanomamö society can clearly be seen in the films Arrow Game and Children’s Magical Death. Arrow Game focuses on archery practice essential to hunting while adding a subconscious layer of learned aggression. Young boys practice shooting mock arrows at each other in the central plaza. A stationary camera with zoom lens capability is used to capture the event. At one point a child is injured signaling a rise in tension. The injured boy’s father comes to his sons aid and contemplates taking revenge on the other child’s father. A fight almost escalated into a head-pounding duel between the two fathers, which signifies division within the village (Asch 1979: 3). The use of slow motion is employed to highlight the moment of incident but in many ways invokes a sense of violent actions being important to the boy’s upbringing. Children’s Magical Death shows village youth taking mock ceremonial hallucinogenic drugs and acting as if under the influence. The viewer learns that the purpose for hallucinogenic drugs in Yanomamö society is to cure sickness and punish others through chant. Asch allows some reflexivity and comedic relief into the film through selective subtitling when one of the children states, “that camera man looks horny”.
The existence of an Evangelical mission operating within Yanomamö territory added to the growing number of outside influences plaguing their communities. This mission would later be attributed to a rise in conflict created by separation within the ranks of Yanomamö society (Tierney 2000: 57). Asch saw this threat to cultural autonomy and made the film New Tribes Mission. Asch’s ethical side begins to blossom within the following films discussed. New Tribes Mission was strictly observational adding elements of purposeful narration by the subject being filmed. He shadowed a white female missionary preacher who would give local Yanomamö children lessons pertaining to the Christian bible. A small amount of reflexivity can be seen when the preacher tells the children to “pray for the success of those filming us”. The preacher throughout her lesson tries to debunk their culture and myths by accusing the Yanomamö of evil drug use and demonic worship. This is done through selective subtitling which proves effective to the viewer and instills a message that what the preacher is doing should be considered corrupt. The film has a melancholy feel and casts blame on Christianity for destroying an indigenous culture. The main theme attempting to be portrayed is that for centuries white society through colonialism, warfare, and elitism has damaged independent cultures on a global scale and that these practices are still occurring.
The films Bride Service and Tug-Of-War stress universal bonds and a sense of community within Yanomamö society. Bride Service depicts a man bringing food to his new father in law in hopes of gaining his respect as a hunter. The familiar use of stills accompanied by narration overlay, are present throughout the film. Their customs become apparent as a young girl is sent to bring the offerings back to awaiting family members. Asch keeps his distance and uses a zoom lens as to not interfere with the unfolding custom. The film Tug-Of-War is a lighthearted observance of a game played after rainstorms. Many youths gather in the central plaza and play tug-of-war. Winning sides are constantly switched showing a form of solidarity within the community. If one side is losing others from the winning side will quickly come to their aid. Prolonging the game can also be seen as a metaphor for not wanting to lose their sense of youth. A full 360° pan of the plaza is unique and completes the metaphor of oneness. The Yanomamö films created by Asch and Chagnon were hailed as exceptional works of visual ethnographic history and are still studied to this day despite controversies surrounding some of their tactics.
Asch was fascinated by the use of séance and trance within certain cultures and from 1980-81, along with his wife Patsy Asch and anthropologist Linda Connor produced the films A Balinese Trance Séance and Jero On Jero: A Balinese Trance Séance Observed. The main obstacle involved in making these films is that what is happening within the medium’s mind is abstract and does not appear in observable reality. To solve this problem Asch incorporates framing techniques to create a separation between Jero going into trance and the family members awaiting her responses. Asch continually zooms and pans back and forth from one subject to the next. In a way the camera is a voice and vessel for the spirit operating between two realms of existence. In the subsequent film, Asch films Linda Connor interviewing Jero to gain perspective and criticisms. The interview permits subjects to be subjective while the audience translates the emotions of a particular event previously filmed or experienced (MacDougal 1998: 117). Asch adopted this filmic method from Jean Rouch’s Chronicle Of A Summer, in which the subject becomes the observer and voices their opinions regarding the final product.
Throughout his career Asch displayed skilled filmic craftsmanship, scholarly rigor, and contributed immensely to the historical context of ethnography. In conjunction with John Marshal he founded DER and continued educating at the university level. He later became director of the Center For Visual Anthropology until his death in 1994 (Lutkehaus 1995: 2).
References:
Asch, Tim. 1979. Making a Film Record of the Yanomamo of Southern Venezuela. Perspectives on Film 2:4-9.
Asch, Tim. 1992. The Ethics of Ethnographic Film-making. In Film as Ethnography, eds. Peter Ian Crawford and David Turton. Manchester: Manchester University Press. Pp. 196-204.
Chagnon, Napoleon A. 1968. Yanomamo The Fierce People.
USA: Holt, Rinehart and Winston, INC. ISBN: 0-03-071070-7
Loizos, Peter. 1993. Innovation in Ethnographic Film: From Innocence to Self-consciousness, 1955-1985. pp. 16-39 Chicago: University of Chicago Press. ISBN: 9780226492261.
Lutkehaus, Nancy “Ashes and Tears”: To Tim Asch (pages 2–4)
Article first published online: 8 JAN 2008 | DOI: 10.1525/var.1995.11.1.2
MacDougall, David. 1998. Transcultural Cinema. pp. 91-122 Princeton: Princeton University Press. ISBN: 9780691012346
Ruby, Jay. 1980. Exposing Yourself: Reflexivity, Anthropology and Film. Semiotica 10(1/2):153-179.
Tierney, Patrick. 2000. The Fierce Anthropologist. The New Yorker 10/9:50-60.
Filmography:
A Balinese Trance Seance & Jero On Jero: A Balinese Trance Seance Observed
written by Timothy Asch, 1932-1994, Linda Connor, 1944- and Patsy Asch; directed by Timothy Asch, 1932-1994, Linda Connor, 1944- and Patsy Asch; produced by Timothy Asch, 1932-1994, Linda Connor, 1944- and Patsy Asch, in Jero Tapakan
(Watertown, MA: Documentary Educational Resources (DER)), 47:42 mins
A Man Called “Bee”: Studying The Yanomamo
written by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; directed by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; produced by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-, in Yanomamö
(Watertown, MA: Documentary Educational Resources (DER)), 43:39 mins
Arrow Game
written by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994; directed by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; produced by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994, in Yanomamö
(Watertown, MA: Documentary Educational Resources (DER), 1974), 07:03 mins
Bride Service
written by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; directed by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-, in Yanomamö
(Watertown, MA: Documentary Educational Resources (DER), 1975), 08:45 mins
Dodoth Morning
written by Timothy Asch, 1932-1994; directed by Timothy Asch, 1932-1994; produced by Timothy Asch, 1932-1994
(Watertown, MA: Documentary Educational Resources (DER)), 16:48 mins
The Axe Fight
written by Napoleon Chagnon, 1938-; directed by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; produced by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-
(Watertown, MA: Documentary Educational Resources (DER), 1975), 30:21 mins
Children’s Magical Death
written by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; directed by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; produced by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-, in Yanomamö
(Watertown, MA: Documentary Educational Resources (DER)), 07:52 mins
The Feast
written by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994; directed by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; produced by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994, in Yanomamö
(Watertown, MA: Documentary Educational Resources (DER), 1970), 29:00 mins
New Tribes Mission
written by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994; directed by Timothy Asch, 1932-1994 and Napoleon Chagnon, 1938-; produced by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994, in Yanomamö
(Watertown, MA: Documentary Educational Resources (DER), 1975), 12:00 mins
Tug-Of-War, Yanomamo
written by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994; directed by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994; produced by Napoleon Chagnon, 1938- and Timothy Asch, 1932-1994, in Yanomamö
(Watertown, MA: Documentary Educational Resources (DER)), 08:28 mins
Michael Hicks (writing) 
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