Recensione di Ethnographies of ‘On Demand’ Films, a cura di Alex Vailati e Gabriela Zamorano Villarreal, Palgrave Macmillan (2021)

Borofsky R., De Lauri A. (2019). «Public Anthropology in Changing Times». Public Anthropologist, 1(1), 3-19.

Bourdieu P., Whiteside S. (1996). Photography: A Middle-Brow

Art. Redwood City: Stanford University Press.

Chalfen R. (1987). Snapshot Versions of Life. Madison: University of Wisconsin Press.

Cockayne D. G. (2016). «Sharing and Neoliberal Discourse: The Economic Function of Sharing in the Digital on-Demand Economy». Geoforum, 77, 73–82. https://doi.org/10.1016/j. geoforum.2016.10.005.

Furtado G. P. (2019). Documentary Filmmaking in Contemporary Brazil: Cinematic Archives of the Present. Oxford: Oxford University Press.

Gallois D. T., Carelli V. (1995). «Vídeo e diálogo cultural: experiência do projeto Vídeo nas Aldeias». Horizontes antropológicos, 1(2): 61.

Ginsburg F. (1991). «Indigenous Media: Faustian Contract or Global Village?». Cultural Anthropology, 6(9), 2–11 2. https://doi. org/10.1525/can.1991.6.1. 02a00040.

Larkin B. (2004). «Degraded Images, Distorted Sounds: Nigerian Video and the Infrastructure of Piracy». Public Culture, 16(2): 289–314.

Kuper A. (1974). «Critical Applied Anthropology: Urban Unemployment and Rural Productivity in Jamaica». Ethnos, 39(1-4): 7-26.

MacEntee K., Burkholder C. and Schwab-Cartas J., eds., (2016). What’s a Cellphilm? Integrating Mobile Phone Technology into Participatory Visual Research and Activism. Rotterdam: Sense Publishers.

Marcus G. E., ed., (1983). Elites, Ethnographic Issues (1st ed.). School of American Research Advanced Seminar Series. Albuquerque: University of New Mexico Press.

Micheals E., Francis J. K. (1994). «The Social Organization of an Aboriginal Wideo Workplace». Australian Aboriginal Studies (1): 28–49.

Poole D. (1997). Vision, Race and Modernity. A Visual Economy of the Andean Image World. Princeton: Princeton University Press. Pinney C., Peterson N. (2003). Photography’s Other Histories. Durham: Duke University Press.

Rodríguez C. (2001). Fissures in the Mediascape: An International Study of Citizens’ Media. Newburyport: Hampton Press.

Ribeiro G. L. (2018). «O Preço da Palavra: a hegemonia do capitalismo eletrônicoinformático e o googleismo». Revista Mundaú, (5): 18–45, consultabile a: https://www.seer.ufal.br/index.php/revistamundau/article/view/7670.

Stewart K. (2007). Ordinary Affects. Durham: Duke University Press.

Silva A. (2012). Álbum de familia. La imagen de nosotros mismos. Sello Editorial, Universidad de Medellín.

Spence J., Holland P. (1991). Family Snaps: The Meanings of Domestic Photography. UK: Virago.

Sreberny A., Mohammadi A. (1994). Small Media, Big Revolution: Communication, Culture, and the Iranian Revolution. Minneapolis: University of Minnesota Press.

Strassler K. (2010). Refracted Visions: Popular Photography and National Modernity in Java. Durham: Duke University Press.

Stoller P. (1992). The Cinematic Griot: The Ethnography of Jean Rouch. Chicago: University of Chicago Press.

Tedlock B. (1991). «From Participant Observation to the Observation of Participation: The Emergence of Narrative Ethnography». Journal of Anthropological Research, 47(1), 69– 94.

https://doi.org/10.1086/jar.47.1.3630581.

Tomaselli K.G., Gerbner G. (1997). «The Viewers’ Declaration of Independence: A Manifesto of the Cultural Environment Movement. A Commentary». Communicatio: South African Journal for Communication Theory and Research, 23(1): 73–78.

Tomaselli K. (1989). «Transferring Video Skills to the Community. The Problem of Power». Media Development (4): 11–15.

Tomaselli K.G. (1999). Appropriating Images: The Semiotics of Visual Representation. Reprinted. Aarhus: Intervention Press.

Williams R. (1977). Marxism and Literature. Marxist Introductions Series. Oxford: Oxford University Press.

Zimmermann P. R. (1995). Reel Families: A Social History of Amateur Film. Bloomington: Indiana University Press.