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Topic: Hortense Powdermaker

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	Visual anthropology (Site not responding. Last check: 2007-11-03)
		This pattern would persist in many ethnographic films to follow (see as an example Robert Gardner's Dead Birds).
		By the 1940s, anthropologists such as Hortense Powdermaker (Hollywood, the Dream Factory, 1950), Gregory Bateson and Margaret Mead (Trance and Dance in Bali, 1952) were bringing anthropological perspectives to bear on mass media and visual representation.
		The work of Bateson and Mead as well as that of anthropologically-minded filmmakers such as Tim Asch, Robert Gardner [1] and John Marshall [1] led to the realization there existed a need to systematically study, understand and produce ethnographic films in a scholarly manner.
	www.abitabouteverything.com /files/v/vi/visual_anthropology.html (700 words)

	Cultural Studies: Communication Studies Resources: The University of Iowa
		Hollywood: The Dream Factory: An Anthropolgist Looks at the Move-makers
		Hortense Powdermaker's classic in it's entirety is available here, as well as a chapter from Stranger and Friend.
		The Way of an Anthropologist, a review of Dream Factory, a biographical sketch and an obituary.
	www.uiowa.edu /~commstud/resources/culturalStudies.html (1990 words)

	2_Specialist
		The impact of gender studies is also apparent in relation to field work.
		Early texts by women such as Elenore Smith Bowen and Hortense Powdermaker demonstrated the importance of personal experience, individual identity and social relationships in writing anthropology.
		It develops some of the themes developed by Smith-Bowen and Powdermaker and explores new ones, including contributions by male anthropologists, increasingly sensitive to gender and masculinity.]
	www.therai.org.uk /pubs/resguide/2_specialists.html (8381 words)

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