Edmundson Anna (2013-2014)
Nom : Edmundson
Prénom : Anna
Statut : Postdoctoral Fellow, musée du quai Branly (2013-2014)
Courriel : anna.edmundson(at)quaibranly.fr
Domaine de recherche
I work as a curator and researcher in the field of Indigenous Australian and Pacific Islander art and cultural heritage. My areas of specialisation include museum studies; Australian and British colonial history in Papua New Guinea, Indigenous art and cross-cultural representation.
PhD, (in examination) Cross-Cultural Research, Australian National University of London (2013)
MPhil, Visual Anthropology, Oxford University of London (1996)
BA (Hons), Anthropology, Australian National University (1994)
2013. Lecturer, Museums and Collections Program, Australian National University.
2012. Lecturer (sessional), University of Canberra, Heritage, Museums and Conservation Program; Australian National University, Museums and Collections Program.
2004-2009. Senior Curator, Australian and Torres Strait Islander Program, National Museum of Australia.
2000-2004. Curator (Anthropology Department); Manager/Curator (MuseumLink Program), Western Australian Museum.
Projet de recherche
With a strong emphasis on digital technology, my current research studies image-making in India as an ethnographic practice of cultural activism. In this context, ‘digital image-making’ refers to the wide range of visual media, visual experimentations and productions of techniques that are emerging and blurring alongside the expansion and use of modern technologies. This research will contribute to the fields of visual and media anthropology by bringing emergent South Asian examples to the existing international debate concerning technology, representation and cultural production. Through a methodological mix of historical research in film archives, participant observation of online digital platforms of image-making and in-depth interviews with media institutions and key filmmakers and artists, I study how practices of digital image-making enable media intellectuals, activists and artists in India to travel across disciplinary boundaries. In the process, this project will offer new possibilities for collaboration and cross-fertilisation between academics and practitioners.
My doctoral research was an historical ethnography of documentary film practices in India through which I studied how contemporary film practices and practitioners conceptualise and debate their practice in relation to their past. For this research, I combined archival material with a range of ethnographic methodologies, such as interviews, group discussions and participant observation. My PhD was the product of twenty months of multi-sited fieldwork (October 2007-June 2009) in which I followed film festivals and film screenings across India, worked with a Bangalore-based collective of media activists, collaborated in film projects, interviewed several filmmakers and media organizations, participated in online group discussions (listservs), and visited archives, namely the National Film Archive of India (Pune), the Independent Documentary Producers Association (Mumbai), the Films Division (Mumbai) and the British Library and the British Film Institute (London). My doctoral dissertation was led by the question ‘what is a documentary in India?’ Following the Foucauldian concept of ‘effective history’, I have contextualized contemporary documentary filmmaking in different historical moments and sought to create a dialogue between past and present film practices. Accordingly, I investigated the way in which contemporary film practitioners inform us about their past and argued that a critical examination of history is necessary to analyse a multitude of documentary film practices in the present. In particular, this research investigated the way practitioners and Indian film critics have written about documentary film in India and, by being part of the same context of cultural production, have produced and reproduced a discourse that continues into the present.
Edmundson, A. 2013. ‘Dreams of Empire: The Australian Territory of Papua in 1913’. In M. Hetherington (ed.) Glorious Days: Australia in 1913. National Museum of Australia Press: Canberra.
Edmundson, A. 2010. ‘Torres Strait Islander Dress’. In M. Maynard (ed.), Berg Encyclopedia of World Dress. Berg: London.
Message, K, Edmundson, A. and Frederick, U. 2009. ‘Compelling cultures: Representing cultural diversity and cohesion in multicultural Australia’, Humanities Research Vol XV. No. 2. 2009, pp.9-16
Edmundson, A. 2009. ‘But where are you really from? The ‘crisis’ of multiculturalism examined through the work of four Asian-Australian artists’, Humanities Research Vol XV. No. 2. 2009, pp.93-113.
Edmundson, A. 2008. ‘The Art of Missing Persons: Loss and Recovery in the Portraits of Julie Dowling’. In Nancy Sever and Caroline Turner (eds), Recovering Lives. Australian National University Press: Canberra.
Edmundson, A. and Neale, M. 2007. ‘Learning to be proppa: Aboriginal Artists' Collective, proppa NOW’. In C. Turner & D. Williams (eds), Thresholds of Tolerance: History, Human Rights, and Art. Australian National University Press: Canberra
Edmundson, A. 2005. 'The dramatist of Orokolo'. In G. Hansen (ed), Captivating & Curious: Celebrating the Collection of the National Museum of Australia. National Museum of Australia Press, Canberra.
Edmundson, A. 2004. ‘Making Representations: Museums in the post-colonial era’. Review Article in Anthropological Forum, Vol 14, No. 1, March, pp. 53-109.
Edmundson, A. 2002, ‘Continuing Transformations: Manarapoh and the Lotud Kadazandusun of Sabah’. Sarawak Museum Journal, Vol LVII, No. 78 (New Series), December, 2002.
Edmundson, A. and O’Brien, S. 2001. Valerie Takao Binder, Frank Daniels Pty Ltd: Perth.
Edmundson, A. and Boylan, C. 1999. Adorned: Traditional Jewellery and Body Decoration from Australia and the Pacific. Macleay Museum Press, University of Sydney: Sydney.