provocative videos

sexual organs and brain were displayed in the famous Musée de l 9Homme in Paris until as recently as 1985. A contentious struggle over the repatriation of her remains to South Africa continues to this day. Using historical drawings, cartoons, legal documents, and interviews with many noted historians and anthropologists, THE LIFE AND TIMES OF SARA BAARTMAN 3 cThe Hottentot Venus d deconstructs the social, political, scientific and philosophical assumptions which transformed one young African woman into a representation of savage sexuality and racial inferiority.<br><br> cBy combining the history and tragic destiny of Baartman, with the theories and racist imagination of the period... (Sara Baartman) presents an implacable plea against racism. d 3 Le Monde (France) cAremarkable achievement... that recreates Baartman 9s odyssey...<br><br> quite unforgettable. d 3 Mail and Guardian (South Africa) S Best Documentary, 1999 Milan Festival of African Cinema (Italy) S Best Documentary, 1999 FESPACO, Pan-African Film Festival (Burkina Faso) TOLL-FREE 1·800·876·1710 1 52 minutes color 1998 Order # A99-21 Sale/video: $390 Rental/video: $75 THE LIFE AND TIMES OF SARABAARTMAN 3 cThe Hottentot Venus d Our videos in this offer come with: S Public Performance Rights S Closed-circuit Rights A Film by Zola Maseko When 20 year old Sara (Saartjie) Baartman got on the boat that was to take her from Cape Town to London in 1810, she could not have known that she would never see her home again. Nor, as she stood on the deck and saw her homeland disappear behind her could she have known that she would become the icon of racial inferiority and black female sexuality for the next 100 years. NEW RELEASE Australia 9s internationally renowned docu- mentary filmmakers (Kildea, O 9Rourke, Dunlop, Connolly and Anderson) are part of a group of expatriates who honed their skills while residents of Papua New Guinea.<br><br> Their films, brimming with wit and character, cap- ture the energy and contradictions of a coun- try in transition from 8backward 9 colony, to a young nation in the modern world. But whose stories are they? Filmmakers are now often challenged about cultural rights and the Western domination of representa- tion.<br><br> TAKING PICTURES explores the issues and pitfalls of filming across a cultural boundary 3 through interviews with Australian film- makers and by sampling their powerful award- winning films about PNG that include Trobriand Cricket (1976), Kama Wosi (1979), The Shark Callers of Kontu (1982), First Contact (1983), Cannibal Tours (1987), Joe Leahy 9s Neighbours (1988), Man without Pigs (1990), and Black Harvest (1992). It also covers the work of indigenous PNG filmmakers, and their own experience of making sense of film and culture. TAKING PICTURES is an inquiry into the practicalities, politics, and aesthetics of the documentary experience.<br><br> c SSS (Three Stars). The story of a new generation of ethnographic filmmakers... The discussions are illustrated with a healthy sampling of clips from their works, films full of beauty, wonder, humor and amazement.<br><br> Strongly recommended. d 3 Video Librarian cAn insightful and thoughtful exploration about the practicalities, politics, and philosophies of making documentaries in other cultures. d 3 Anthropology Review Database c(A) stunning documentary... Apowerful reflective look at documentary filmmaking in Papua New Guinea. The discussion running through the film is about the ethical ramifications of filmmaking in other cultures...<br><br> For those interested in cultural ramifications of documentary film or ethnography this is more than a glimpse into the lives behind the lens and in front of it. I would highly recommend this film for college/university undergraduates, graduates and faculty. d 3 MC JOURNAL: The Journal of Academic Media Librarianship S 1997 EthnoFilmFest (Berlin) S 1997 International Ethnographic Film Festival (Rio de Janeiro) FIRST RUN / ICARUS FILMS 2 Eddie Koiki Mabo was born on Murray Island in the Torres Strait (between Australia and Papua New Guinea), but lived most of his life in exile on mainland Australia. Only after his death did the island wholeheartedly welcome him home.<br><br> By then the island and Eddie Mabo had changed the legal and political landscape of Australia. On June 3, 1992, after a ten-year legal battle, and five months after Eddie Mabo died of cancer at age 55, the High Court of Australia upheld his claim that Murray Islanders held cNative Title d to three islands on the eastern fringe of the Torres Strait. This ended the theory of cterra nullius, d or land belonging to no one at the time of white settlement.<br><br> Aboriginal and Islander communities across Australia greeted the Mabo judgment with jubilation. The legal fiction that Australia was an empty land when first occupied by white people had been laid to rest. After more than 200 years, European law had to recognize pre-existing indigenous law.<br><br> MABO 3 Life of an Island Man traces the story of the life of an extraordinary man, one whose struggle for land rights, and his remarkable life in general, had a profound effect on indigenous rights in Australia. It tells the story of an island man so passionate about family and home that he fought an entire nation and its legal system. Though he died before his great victory was won, it has forever ensured his place on Murray Island and in Australian history.<br><br> cMABO is exceptionally well done, with beautiful footage, strong narrative, and a gripping story to tell... Transcends a single life, exposing viewers to the history of a geographic region and its people, and to issues common to many colonized lands 3 oppressive colonial rule, prejudice, political struggles for indigenous rights, and struggles to maintain aspects of traditional culture in the face of colonial rule and assimilation. Particularly well suited to courses in Anthropology, area studies, indigenous rights, politics and law.<br><br> Highly Recommended. d 3 Lore Foulke, Milton S. Eisenhower Library, John Hopkins University, MC JOURNAL: The Journal of Academic Media Librarianship S 1998 Margaret Mead Film Festival S Best Documentary, 1997 Australian Film Institute Awards S Best Documentary, 1997 Sydney Film Festival 87 minutes color 1997 Order # A99-29 Sale/video: $440 Rental/video: $100 A Film by Les McLaren and Annie Stiven TAKING PICTURES 56 minutes color 1996 Order # A99-23 Sale/video: $390 Rental/video: $75 Our videos in this offer come with: S Public Performance Rights S Closed-circuit Rights MABO 3 Life of an Island Man A Film by Trevor Graham TOLL-FREE 1·800·876·1710 3 The mysterious and elaborate turtleshell masks collected last century in Torres Strait in far north Australia are unique and irreplaceable, yet there are now none left in Torres Strait. They are all in foreign museums.<br><br> CRACKS IN THE MASK follows Ephraim Bani, a witty and knowledgeable Torres Strait Islander and an expert on his people 9s myths and legends, as he sets out on a voyage of discovery to the great museums of Europe where his cultural heritage now lies. The film asks, what happens when he encounters and meditates on his patrimony and secondly, what consequences does this hold for us in the West? Bani fills in some of the gaps in his culture 9s history, including film and sound recordings made by A.C.<br><br> Haddon of the Cambridge Anthropological Expeditions in 1898, subjecting the disciplines of anthropology, ethnography, and museum studies to a novel form of scrutiny. Going beyond the overly familiar arguments about pillage and art- theft, three avant- garde curators provide thought- provoking and surprising chal- lenges to muse- ums in the West, and how they reflect our cultur- al proclivities. CRACKS IN THE MASK shows how museums can decon- textualize cultures 3 the so-called cpoetics of detachment d 3 and exclude the very people whose ancestors created the objects in the first place.<br><br> c...Atreasure trove of superbly photographed Torres Strait pieces... But these, impressive as they may be, are incidental. The lasting impression is one of separation and loss of a people and its past...<br><br> Afilm which questions the very idea of a museum and shows how troubled many museum curators are about their role today. d 3 Oceanic Art Society Newsletter cCRACKS IN THE MASK... fills in some of the gaps in Torres Strait Island history, and, at the same time, exposes the cracks in the current collection policies of some of Europe 9s museums. d 3 Aerial S 1998 Margaret Mead Film Festival S Estonian National Museum 9s Prize for Best Film, 1998 Pärnu Film Festival S Audience Award & Honorable Mention, 1997 EthnoFilmFest (Berlin) CRACKS IN THE MASK A Film by Frances Calvert 58 minutes color 1997 Order # A99-22 Sale/video: $390 Rental/video: $75 Turtleshell mask Wilfred Aniba Torres Strait 1898 Thyers (of the Cambridge Anthropological Expedition) recording Ulai (of Murray Island) on a wax cylinder NEW RELEASE FIRST RUN / ICARUS FILMS 4 TRINKETS & BEADS ADVERTISING MISSIONARIES A Film by Chris Hilton and Gauthier Flaunder In Papua New Guinea, where most of the population cannot be reached by the regular advertising mediums of television, radio or print, the 8market 9 must be developed by other means. So, small theater groups travel the remote highlands performing soap operas devised around advertising messages for a variety of products.<br><br> ADVERTISING MISSIONARIES follows the mission of one theater company to bring the consumer revolution to the people of the highlands. In bigger and more modern towns, the company plugs farming products or car parts. In more remote villages, a set is unfolded on the back of a flat-bed truck, portraying a modern Western living-room where the advantages of Coca-Cola, Colgate, clothing, canned food, and washing powder are touted.<br><br> Usually convinced that they are bringing progress to their countrymen, the actors are also conscious of some of the side effects that the consumer revolution they are leading may bring. But, in an echo of the former cargo cults, the advertising agency boss who employs them drops in periodically by plane to keep them from straying from the fold and gives them pep talks about new products and the worthiness of their mission. ADVERTISING MISSIONARIES observes the impact of the advertising theater on a previously cuntouched d village in the remote Yaluba valley, where the film enters the lives of villagers Aluago, Tintiba and their two children.<br><br> We see the village before, during and after first contact by the new missionaries 3 and what happens as a result of their visit. cAsuperbly produced look into the wiles of the advertising industry as it takes root in rural Papua New Guinea... Don 9t miss it! d 3 The Sydney Morning Herald c SSS (Three Stars).<br><br> Invigorating, often humorous, and sometimes sobering. Recommended. d 3 Video Librarian cThis compelling (and entertaining) documentary effectively forces to center stage life 9s large questions: what is good for people and who has the right to determine that? d 3 WorldViews Magazine A Film by Christopher Walker After twenty years of devastating pollution by oil companies in the Amazon basin of Ecuador, a new kind of oil company 3 Dallas based MAXUS 3 promises to be the first that will protect the rainforest and respect the people who live there. TRINKETS & BEADS tells the story of how MAXUS set out to convince the Huaorani 3 known as the fiercest tribe in the Amazon 3 to allow drilling on their land.<br><br> It is a story which starts in 1957 with the Huaorani massacre of five American missionaries, moving through the evangelization of part of the tribe by Rachel Saint, the pollution of Huaorani lands by Texaco and Shell, and manipulation of Huaorani leaders by MAXUS. Now the Huaorani leader, Moi, is trying to unite the tribe to force MAXUS off their lands. cIt 9s not just about exploiting oil, d says Moi, cit 9s about who controls the rainforest...<br><br> it 9s everyone 9s concern because this is the heart of the world... d The story of how the Huaorani are attempting to survive in the Petroleum Age on their own terms, to outwit and outfight the forces of change, exposes one of the best-hidden consequences of our relentless drive to cdevelop d the world. Filmed over two years, TRINKETS & BEADS reveals the funny, heartbreaking and thrilling story of the battle waged by a small band of Amazonian warriors to preserve their way of life. cWithout any misplaced exoticism, it reveals the drama of the Amazon by telling the story of the people who live there.<br><br> Afine success! d 3 Le Monde cNotable for both the courage of the director and the quality of direction. d 3 Jean Rouch S 1997 Margaret Mead Film Festival S 1996 International Festival of Ethnographic Film, Royal Anthropological Institute (UK) S Special Mention, 1997 Panorama of Ethnographic Film, Musée de l 9Homme (Paris) S Award of Merit, 1998 Latin American Studies Association S 1997 Margaret Mead Film Festival S 1997 Bilan du Film Ethnographique (Paris) S 1997 Margaret Mead Film Festival S 1997 Bilan du Film Ethnographique (Paris) 52 minutes color 1996 Order # A99-24 Sale/video: $390 Rental/video: $75 52 minutes color 1996 Order # A99-25 Sale/video: $390 Rental/video: $75 TOLL-FREE 1·800·876·1710 5 In the 1950s a Belgian missionary and film fanatic in the Congo, Albert Van Haelst, made some twenty films: the Matamata and Pilipili series. These comic heroes, the missionary 9s would-be African answer to Laurel and Hardy, were the delight of Congolese moviegoers. Never viewed outside Africa before, the films disappeared at the close of the colonial period.<br><br> Tristan Bourland has now recovered the original negatives from archives in Belgium. Fifty years after their creation, this film reveals these hidden gems. Through them, and through the story of their creation, their reception by the Congolese audiences, their disappearance, and what happened later to the filmmaker and his two Congolese movie-stars, MATAMATA AND PILIPILI reclaims an important episode in Congolese cultural history, while exploring the complex terrain of colonial relationships, media repre- sentations, and popular culture.<br><br> cMATAMATAAND PILIPILI has rightly won international critical acclaim and recognition. It makes an important addition to all video collections. Highly recommended. d 3 Geraldd A.<br><br> Notaro, University Librarian, University of South Florida, MC JOURNAL: The Journal of Academic Media Librarianship S 1997 International Documentary Film Festival (Amsterdam) S 1997 Margaret Mead Film Festival S 1997 Bilan du Film Ethnographique (Paris) 55 minutes color 1996 Order # A99-26 Sale/Video: $390 Rental/Video: $75 MATAMATA AND PILIPILI A Film by Tristan Bourland Joseph Idlout, an Inuit hunter, attained celebrity status in the 1950s as a model Eskimo in the cgood Indian d mold. Subject of books, star of films, Idlout symbolized his people to white Canada, a mythical hero akin to Nanook of the North. But for Idlout, notoriety in this unfamiliar world would ultimately lead to his death.<br><br> BETWEEN TWO WORLDS documents the human cost of progress. Newsreels trumpet the arrival of southern civilization: teachers, clergy, traders, the Mounted Police, come with canned goods, hospitals, schools, heated houses, all for the sake of the Inuit. In this world Idlout, the great hunter, became a guide and a commercial fox trapper.<br><br> As new pressures intensified, Idlout became unable to cope with his suddenly chaotic world. On June 2, 1968, following a night of drinking at the Resolute Bay armed forces base saloon, Joseph Idlout was found dead after driving his snowmobile over a cliff. Today the legacy of dependency is frightening.<br><br> The suicide rate among young Inuit is five times the national rate. The Arctic 9s past is forgotten, its future seems bleak. Joseph Idlout may not have imagined the changes that would overwhelm his North, but he was among its first casualties.<br><br> c SSSSS [5 Stars - Must Have] An absorbing production, creatively searching the past for clues to the present... a program for sociology and anthropology courses... and courses with a Native American emphasis.<br><br> Highly recommended for purchase. d 3 Cynthia A. Gray, Video Rating Guide for Libraries c[A] poignant profile, this heartrending story highlights an individual who received many honors for his independent spirit yet was troubled in his later years by living between two cultures. d 3 Booklist cEndlessly fascinating and ultimately devastating. d 3 John Griffin, Montreal Gazette cAbrilliant film about traditions and the inevitability of change. d 3 Bob Remington, Edmonton Journal S Gold Apple Award, 1991 National Educational Film & Video Festival S 1991 Margaret Mead Film Festival S 1991 Native American Film & Video Festival 58 minutes color 1990 Order # A99-20 Sale/video: $390 Rental/video: $75 BETWEEN TWO WORLDS A Film by Barry Greenwald Produced by Peter Raymont FIRST RUN / ICARUS FILMS 6 Directed by Leonard Kamerling Education Advisor William Parrett HEART OF THE COUNTRY HEART OF THE COUNTRY is the story of Shinichi Yasutomo, the extraordinary principal of a rural elementary school in Kanayama, central Hokkaido, Japan. Yasutomo is a man driven by his vision for learning and his passion for educating the heart as well as the mind.<br><br> The film follows Yasutomo, his teachers and staff, students and their families over the course of one entire school year. The film is also the story of the families of Kanayama. Parents and elders of this once impoverished town embrace Yasutomo 9s vision, but not without wary glances back to the past.<br><br> This small community, bound together by love for its children, is also defined by its journey through the cultural upheavals of postwar Japan. Beyond intimate observation of everyday life, from morning gymnastics to the graduating ceremony, HEART OF THE COUNTRY takes viewers into the world of Japanese values, revealing how the school, the family and the community are bound together in a self-perpetuating relationship based upon obligation, mutual responsibility and trust. cShows the school as an institution that reflects the assumptions and structures of Japanese society.<br><br> It is, in itself, a model of how one might inquire into the myriad connections of a school with its community. d 3 John Singleton, Professor Emeritus of Education and Anthropology, University of Pittsburgh, AEMS NEWS & REVIEWS cThe visual impact, the characters, the calm pace and cumulative experience of the children, the school and teachers, Yasutomo and the community are terrific... (it demonstrates) what I have seen in Japan and tried to convey in my work on Japanese schools, children and communities... Agem. d 3Merry White, Professor of Education, Boston University, author of THE JAPANESE EDUCATIONALCHALLENGE S Gold Apple Award, 1998 National Educational Media Network S Special Exhibition, 1998 Cinéma du Réel (Paris) S Special Exhibition, 1998 Pärnu Ethnographic & Documentary Film Festival WHY MEN DON 9T IRON (Anne Moir) 3 a new three part series on the relationship between biology and social forces in determining sex roles.<br><br> THE TODOS SANTOS FILMS (Olivia Carrescia) 3 classic documentaries of Mayan life in Guatemala, before and after civil war, and a third looking at the experiences of Mayan immigrants to the US. WOMEN IN THE MIDDLE EAST (Elizabeth Fernea) 3 four half-hour films examining the changing roles of women in the midst of religious, political, and economic change in the Arab world. MOROCCO, BODY AND SOUL (Izza Genini) 3 seven films on the music of Morocco.<br><br> The genres are performed in the environments that fostered them, giving a window into components of Moroccan society: Berbers, Black Africa, the Orient, Andalusia, Islam, and Judaism. CELSO AND CORA (Gary Kildea, see TAKING PICTURES) 3 a shattering observational portrait of one family living in the slums and on the streets of Manila. RATS IN THE RANKS (Bob Connolly and Robin Anderson, see TAKING PICTURES) 3 their latest film.<br><br> Behind the scenes of a small-town mayoral campaign in Australia. Other films and videos for Anthropology & Ethnography First Run / Icarus Films distributes 700 films & videos, many on world cultures and anthropological issues, including: For more information about any of these films, ask for a copy of our complete catalog. You may also find out about all of these films on our Web Site 3 http://www .frif.com 90 minutes color 1997 Order # A99-27 Sale/video: $440 Rental/video: $100 58 minutes color 1998 Order # A99-28 Sale/video: $390 Rental/video: $75 In the Refalawasch language of the Northern Mariana Islands of Micronesia, cLieweila d means, clisten to our story. d LIEWEILA is the first film about the Refalawasch (Carolinians) of the (US) Commonwealth of the Northern Mariana Islands (CNMI).<br><br> It draws on historical lithographs and photographs to tell the early history of the Carolinians of the outer islands of Yap Chuuk who sailed in dugout canoes to the Marianas for work and trade. The film describes how the Carolinians watched as the Chamorros of the Marianas were forced to submit to Spanish colonial rule. Centuries later, typhoon and earthquake forced Carolinians to seek a new home, and they migrated to the Marianas.<br><br> LIEWEILA follows the Refalawasch through this history and explores the complex lives of their great- great-grandchildren, who today number just over 3,000. The film 9s narrator, Cinta M. Kaipat, describes her childhood in the islands north of Saipan, where her family tried to blend traditional ways with modern life.<br><br> She recounts how her family was forced to move to Saipan at a time of political turmoil. A momentous debate over the islands 9 destiny was underway, a debate that led to the birth of the Commonwealth government. She and a number of interviewees examine how the choices made in that time shape the lives of the Refalawasch today, as they fight for the survival of their culture in the face of rapid development and massive demographic change.<br><br> In LIEWEILA the Refalawasch talk about their history, traditions that are at risk, and the steps they are taking to preserve their way of life. They made this film in an effort to help preserve cTipiyees, d their ancestors 9 spirit of one-mind, one-voice, one- heart, in their changing world. The film is a call for all people to listen to stories of the past, and think about the legacies we will leave our children.<br><br> cLIEWEILAprovides an excellent overview of culture change in Micronesia and the plight of migrant communities. It is narrated by a descendant of the first migrants, and focuses on the history of her family. This gives the film a personal touch, generating empathy in the viewer.<br><br> The documentation of historical change through the use of still photographs and vintage film footage, accompanied by a dramatic sound track, is particularly effective. I intend to use this film in my course in visual anthropology and would recommend it for courses on Oceania as well. d 3 Alan Howard, Professor of Anthropology, University of Hawaii cStunning visual footage... a welcome addition to collections highlighting Pacific Island cultures, Anthropology, Sociology and Politics. d 3 Lori Foulke, Milton S.<br><br> Eisenhower Library, Johns Hopkins University, MC JOURNAL: The Journal of Academic Media Librarianship S 1998 Pacific Images Festival (Hawai 9i) S 1998 Two Rivers Native Film and Video Festival (Minneapolis) TOLL-FREE 1·800·876·1710 7 LIEWEILA: AMicronesian Story 153 Waverly Place New York, NY 10014 Telephone: (212)727-1711 (800) 876-1710 Facsimile:(212) 255-7923 E-mail: mail@frif.com Web Site:www.frif.com ORDERING INFORMATION Please refer to Order Numbers on all Orders. PUBLIC PERFORMANCE RIGHTS: All videos purchased through this offering are licensed with Public Performance Rights for non-commercial and educational exhibition when no admission fee is charged. CLOSED-CIRCUIT RIGHTS: All videos purchased through this offering are licensed for closed-circuit educational usage on your campus, at no additional cost.<br><br> FREE PREVIEWS: Videos may by pre- viewed for purchase consideration by estab- lished film and video libraries. SALES: Videos are cleased for the life of the print. d A rental fee may be deducted from the purchase price if the film or video is pur- chased within 60 days of the rental. DUPLICATION RIGHTS: The Right to duplicate additional copies of purchased videos for classroom use may be obtained.<br><br> Inquire for details. RENTALS: Prices shown are classroom rates. Inquire for open showings.<br><br> Order at least three weeks ahead of your screening date. We must receive written notice of cancellations at least two weeks in advance of screening. SHIPPING: An additional fee for shipping and handling is added to sales and rentals.<br><br> Videos must be returned via UPS or PRIORITY MAIL. Insure videos for the amount shown on your invoice: you will be liable for the replacement cost of any lost or damaged print. ORDERING: Submit all orders by purchase order, on official institutional letterhead, or pay in advance of shipping.<br><br> Refer to Order Numbers on all orders. 58 minutes color 1998 Order # A99-30 Sale/video: $390 Rental/video: $75 A Film by Beret E. Strong and Cinta Matagolai Kaipat Bulk Rate U.S.<br><br> Postage PAID New York, N.Y. Permit No. 2203 First Run / Icarus Films 153 Waverly Place New York, NY 10014 Toll-Free:1-800-876-1710 Web Site: www.frif.com Address Service Requested Video Resources Exploring World Cultures & Issues in Anthropology Museum Studies Indigenous & Land Rights Gender & Race Visual Anthropology Cultural Studies Economics & Culture Change Exploring world cultures...<br><br> Papua New Guinea Torres Strait Islands South Africa Ecuador (the Amazon) Micronesia Congo Japan T en provocative videos Investigating issues in contemporary Anthropology...

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