The Hamat’sa (or “Cannibal Dance”) is the most important-and highly representable ceremony of the Kwakwaka’wakw (Kwakiutl) people of British Columbia. This film traces the history of anthropological depictions of the dance.Moreover it tries to discuss about the cultural role this dance serve. Another focus in this film is the filmaker’s fieldwork experince. It works on th ethics of the relationships between the anthropologists and their reserch partners.
In Jerusalem, three religions meet. They harmoniously coexist. While the guides lead us through the streets of Jerusalem, we can see people from different backgrounds and culture live in the same neighbourhood. The guides are the meessagers of time. They deliver the message that only time can solve all the disputes and trouble.
The guides even tell us three stories, or ,you could say, rather the same story of three different versions. That is, we get to see things in Jew,Arab, Christian’s points of view.Pierre Henry Salfati , director let us discover Jerusalem in the way we have never seen it before.
Suddenly Sami is a personal film about identity. During the director’s childhood and youth in Oslo her mother never told her about her indigenous Sami background in the Arctic area of Norway. Why didn’t she? And how can the director suddenly become Sami in the middle of life? And does she really want to?
The film director lived in the mountain village of Fotuoyan for more than a year to record the living condition, traditional customs, religious beliefs, as well as the impact of Socialist rural development of the peasants on the Loess Plateau in Northern Shaanxi. The film narrative develops in accordance with the four divinations: summer, autumn, population, and national affairs. The challenges facing the village are similar to that of other rural areas: Young people emigrate their homeland, and only the elderly, the weak, the sick, and the disabled stay in the village. God seems to be the only source of comfort for these suffering souls at the edge of modern civilization.
For thousands of years, the Kucong tribe have lived in the primary rainforests of the Ailao Mountain and led primitive hunter-gatherer lifestyles. However, things changed in 1949 with the proclamation of the People’s Republic of China. A series of programmes were initiated to get the Kucong tribe to leave the forests and mountains, however, such initiatives did not go down well with the Kucong tribe. During the 50 years between 1958 and 2008, the Kucong tribe has been relocated from the forests five times; all five times, they escaped back to their homes in the forests. In 2008, the government decided to resettle the Kucong tribe for the sixth time—will they leave the forests this time?
Ye Cai was born in 1946. When still quite young, he signed with Eastman Kodak Company as a professional photographer. For seven years, Ye traveled around the world to capture the beauty of all cultures. However, when he saw that people in Europe were very conscious of their own cultures and histories, he gave up on this prestigious job and returned to Taiwan, to the Hakka communities of Hsinchu county. There, he has devoted himself to capturing the essential moments of Hakka life and the beauty of the Hakka culture. Ye has photographed the authentic life of laborers and continues to create photos that chronicle the Hakka culture of Hsinchu County. His photographic masterpieces are a priceless asset to the Hakka people of Hsinchu and to all of Taiwan. This film documents the life and photographs of the artist. It explores the breadth and depth of Hakka culture in the narrations of Ye Cai himself, as well as Hsinchu villagers and local Hakka culture workers.