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11. Barak-Erez D. Israel: Citizenship and Immigration Law in the vise of security, nationality, and human rights//In-ternational Journal of Constitutional Law. - Vol. 6, Number 1, - 2008. - p. 184-192. - URL: http://www.tau. ac.il/law/barakerez/articals/citizenship2008.pdf
12. Богатуров А. Д. Системная история международных отношений в четырех томах. 1918-2003. События и документы. Т. IV. - М.: НОФМО, - 2004. - 600 с.
13. Закон о государственном образовании. Статья 2. - URL: http://www.knesset.gov.il/review/data/eng/law/kns2_ education_eng.pdf
14. Центральное статистическое бюро Израиля. Статистический обзор Израиля. 2010 г. - URL: http://www1. cbs.gov.il/reader/shnaton/templ_shnaton_e.html?num_tab=st02_02&CYear=2010
15. Марченко М. Н. Иудейское право как подсистема общей системы израильского права//Вестник Московского Университета. Сер. 11 (Право), - 2001. - № 3. - с. 76-88.
16. Бодрийяр Ж. Симулякры и симуляция. - Тула: Тульский полиграфист, - 2013. - 204 с.
Seksenbayeva Gulzira, Kazakh National Pedagogical University named after К. Abai
E-mail: s.gulzira@mail.ru
Visual anthropology in the perspective of modern historical knowledge
Abstract: Audiovisual documents are considered in the context of modern historical science, as a historical source, as well as a peculiar product of culture, which can significantly extend the knowledge of reality and to some extent, can assist renovation of historical thinking in the study of the past. Attention is paid to structure and contents of audiovisual documents as an independent group of historical sources. Such a study approach enables (through the use of the possibilities, tools, techniques and methods of source-studies) a number of challenges associated with the introduction into public and scientific use of the most valuable information contained in these sources to be resolved.
Keywords: historical source, film-documents, newsreels, audiovisual document, film magazine, film-plots, film, documentary film.
By the end of the 20th century the humanitarian branch of scientific knowledge in its anthropological aspect was replenished with a number of scientific directions (historical anthropology, social anthropology, cultural anthropology, structural anthropology, etc.). Among the various anthropological disciplines “visual anthropology” is located, where scientific interests directly extended to those parties of human activity that can be fixed by audiovisual means. Nowadays, the situation is that visual anthropology is a cultural activity where screen art, both the humanities, science and information technologies cooperate. This is directed to receive and inculcate information about the little-known parties of culture in social practice. The synthetic nature of the visual anthropology, where expressive possibilities of modern art and the achievement of sciences about the person are organically combined, is focused on studying the person and the variety of their personal, social and natural manifestations.
Visual anthropology is an interdisciplinary science. The possibility to read a new a lot of aspects of a sign system that are contained in spiritual culture. The fixed
authentic material gives an objective story, documentary exact picture where, among other things the temporary characteristic of represented, also it is possible to feel the atmosphere were an action takes place. The use of a visual method, in unity with application of methods of other humanitarian science essentially expands possibilities of penetration into study processes. It allows, not only description, reconstruction and analysis, but also the ability to see diverse elements of culture in real time. Visual anthropology is based mainly on documents of an audiovisual origin, and closely adjoins other scientific disciplines and directions such as historical, cultural, philosophical, sociological and art profiles that gives it a strongly pronounced interdisciplinary orientation.
Most researchers connect the origin with the distribution of processes of photo phone film documenting (the second half of the 19th century) as a way of fixing original culture, mode, way of life, customs and rituals ofpeople. In the last century scientists and experts in Western Europe and the US brought a major contribution to the development of theoretical methodical bases of study of the historical and cultural foretime in the sphere of traditions
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of people all over the world. It was argued that visual anthropology can perform as a special area of humanitarian research — on the one hand, and also as independent scientific discipline, on the other hand.
Today, the majority ofresearchers reject “ethnographic or anthropological film», put in the concept «visual anthropology", emphasize that “audiovisual anthropology” is a huge volume of various information daily created mainly on film or by digital storage media (the photo, different sound recordings, advertising, design, architecture, etc.) [1]. Within, the unity of humanitarian knowledge and knowledge of “the vital world” of a person, visual anthropology, as the independent direction in its art specificity discovers the ways of cultural development of the real world. Visual anthropology includes in the sphere of attention ofresearch; public psychology, public consciousness and an inner spiritual world of people, mass culture, customs, a way of life, the history of family and fashion. It must be pointed out that the American archivists have considerable experience of similar research. To a certain extent the direction of this problem is connected with the development and strengthening of “modern social history” in the 1960's - 1980's years in American historiography. This declared that its purpose is the study of the life of the so-called “the simple person”, daily activities of ordinary people, family, mass culture, social psychology, ordinary consciousness, fashion, customs and a way oflife. Nowadays, it is possible to say that visual anthropology is one of the fundamental scientific branches used to form a more accurate and reasoned representation of society, primarily about life and the existence of an indigenous people of any country.
In this article the main focus is on the question of the search and detection of audiovisual documents of this subject in the national audiovisual archive (The Central State Archive of film photo documentary and sound recordings of the Republic Kazakhstan) the experts studying various aspects of domestic culture, with rare exception use a documentary base of film archive. The special urgency of research in the field of visual anthropology in this foreshortening assumes that they open real perspectives of recovering history through creation of works of film documentary of anthropological subjects during a certain chronological period and creating preconditions of their assessment as historical sources. Archival film documents, as a whole, and archival documents on visual anthropology, in particular, are valuable means of collecting information and can be effectively used in the works of historians, ethnographers and other researchers as a highgrade historical source.
Addressing the problem of studying films with ethnographic contents. These films deserve the right to take a worthy place in scientific research. Proceeding from this, we will consider in generally of the audiovisual documents that have been kept in the national archive (the first films belong to the second half of the 20 century.). The variety of their character and contents, allows questions about the necessary wider promotion of archival funds on visual anthropology among the scientific community, as and their special studies ofhistorical sources and objects of archival storage, to be raised.
It must be pointed out that at first there was no general plan and system in the organization of the work in the creation of ethnographic films. Their production was strictly run by the order and initiative of central organizations, according to the production plans of actual film studio. The majority had a geographical and ethnographic character and were focused on the depiction of life, fashion, and culture of the people living in various corners of Kazakhstan.
On the whole, it is possible to say that this rather representative assembly of pictures with some details of life and with accompanying inscriptions of the ideological contents. In the early 1930's, there was a possibility of a new approach to ask questions about the systematic release of films of ethnographic character. During these years the work on the implementation of the program of creation «Kinoatlas of the USSR» with a series of local history and ethnographic films was intensified. The purpose of the project was the creation of cinema serial films about the life and customs of the Soviet people [2]. Considering that «Kinoatlas the USSR» was created on the initiative of the Central Bureau of Study of Local Lore. The authors of films should be focused on the general installations of the Soviet study oflocal lore; the orientation to show relations of production; pay sufficient attention to the person and creation round it the certain environment testifying to the successes of Kazakhstan during these years by fixing the moments, connected with socialist reconstruction of the country, changes in a life, national policy etc. This is so in the film the «Gold coast», created by the Almaty production office of the All-Russia joint-stock company “Vostok-kino” in 1930 (director A. Lemberg), where pictures of pre-revolutionary life and customs of Kazakh poor people are embodied and the life of fights and mullahs is shown. As a whole, it is possible to say that in film documents of the 1920's - 1930's more fixing and reflection of the outer side of traditional ethnography of the Kazakh people is evident. At the same time, the value of these images is indisputable, from an historical, and so welfare point ofview.
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On the basis of the data concentrated in film documents of this subject, it is possible visually to present and form a certain opinion figuratively on the rich heritage of the Kazakhs. It is also necessary to especially emphasize that an overwhelming proportian of films had propaganda, custom-made characters and had the purpose to show essential social and economic changes that occurred within the days ofthe Soviet power in the lives ofthe people ofthe USSR. For the objectives of this research it is extremely important to mean any film work irrespective of specific and genre accessory (here film documents ofvisual anthropology are not an exception) expressed in this or that form the whole frame of reference, the ideas, created in society as a whole. Such views can be expressed by the cinematographer of various stages of creation of the film or of a plot, beginning from their plan before preparation of the final product. Thus, shootings of ethnographic subjects of this period had quite specific orientations caused by the time and conditions of their creation.
The next years (1950 up to the middle of the1980's) ethnographic films were made in small volume and unsystematic. The content of the whole array offilm documents revealed during research on visual anthropology reflected some spheres of the spiritual and material life of the Kazakh people and separate ethnic groups over a certain period of time. These materials are revealed in the main forms: 1) specific shootings; 2) chronicle and documentary shootings ofseparate events; 3) shootings of different types of decorative and applied arts; 4) shootings of a way of life and customs. So, in the documentary films devoted to folk applied art ancient manual ways of manufacturing of felt carpets (tekemets, syrmaks), house utensils, and jewels were shown [3]. The cycle of films shows horse competitions (alamen bayga, zhorga zharys, audaryspak, kokpar, etc.) which carried out specific public functions, such as educational, ritual, entertainment, a esthetic and communicative, etc. [4].
On the basis of previous research, it is possible to formulate the main immediate perspective objectives of visual anthropology, which only becomes reality at the interdisciplinary level. Here it is obviously possible to
allocate the following largest directions ofstudying ofvisual anthropology: scientific, applied, advocacy (including here not only exhibition work, but also festival movement), interdisciplinary and educational using achievements ofmodern ethnology, anthropology, cultural, archival science, art criticism, a cinematography, sociology, etc. This is a new stage of investigation. First of all, is to continue to search and identify film, video documents in this field in domestic and foreign archives and museums; to comprehensively analyze the structure and contents of archival film documents of ethnographic subjects held in the Kazakhstan archives; to carry out cataloguing ofdiscovered ethnographic film, video documents, paying special attention to researching aspects of the problem (the level of description of assembly shots or film plans; the carrying out of attribution of the remaining films, the establishment of reliability of the facts, etc.).
The question of fund formation on film anthropology is represented actual, as the analysis of funds of national audiovisual archive reveals a fragmentariness of film documenting of a way of life and customs of the people occupying Kazakhstan, their traditions, religious practices etc. This circumstance takes into account the enormous need for audiovisual supervision It also raises the question about the coordination of activity of scientific and archival institutions about how to fix the information of process, and the resulting revival of crafts, way of life and customs of the various people living Kazakhstan, with the prospect of creation of a database about structure and the contents of Kino photo phone and video documents on visual anthropology to new data carriers.
The problem of scientific use of information concluded in films of visual anthropology in historical and other humanitarian research has independent value. Documents of visual anthropology with their strongly pronounced daily occurrence have not yet become the object of the scientific interests ofhistorians and ethnographers. In this regard there is an actual problem of studying all complexities of film photo phone video documents of this sort in a context of real historical reality. Such approaches open up opportunities for the use of the comparative method in humanitarian knowledge.
References:
1. Alexandrov E. V. Experience of consideration of theoretical and methodological problems of visual anthropology. - М., - 2003.
2. Magidov V. М. Film documents on visual anthropology of Russia (history archive and source study aspects)/Ma-terial resources of sphere of culture. The Scientifically-information collection. - М., - 1998. Issue. 2. - P. 11-21.
3. Central State Archive of Film, Photo Documents and sound recordings of the Republic of Kazakhstan (CSA FFDR RK), arch. № 133, 497, 580, 176.
4. (CSA FFDR RK), arch. № 76, 18, 41.
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