Visual anthropology plausibly carries on from the idea that culture is noticeable through perceptible characters entrenched in ceremonies, gestures, artifacts and rituals positioned in artificial and natural settings. Culture is visualized of as bringing out itself in scripts with intrigues connecting actors and actresses with props, lines, settings and costumes. The cultural nature is the computation of the state of affairs in which individuals take part (Ruby, 2000). If an individual can observe culture, then researchers ought to have the ability to make use of audiovisual technologies to document it as data open to presentation and analysis. Even though the basis of visual anthropology are to be instituted historically in a positivist theory that a purpose certainty is apparent, majority of contemporary culture philosophers put emphasis on the socially built nature of cultural realism and the faltering nature of our acceptance of any culture (Ruby, 1996).
There is an evident relationship linking the assumption that culture is independently apparent and the popular conviction in the transparency, neutrality, and impartiality of audiovisual technologies. As of a positivist point of view, reality can be caught on film devoid of the constraints of human perception. Pictures offer an impeccable witness and resource of extremely consistent data. Given those suppositions, it is rational that the moment the technologies were accessible, anthropologists tried to generate with the camera the kind of goal research data they could store in documentations and availed for learning by generations to come (Ruby, 2000).
Visual anthropology has in no way been totally integrated into the conventional of anthropology. It is underestimated by a few anthropologists as being for the most part apprehended with audiovisual aids for training. The anthropological institution has yet to accept the essentiality of the mass media in the development of cultural individuality in the mid twentieth century. As a result, visual anthropologists from time to time find themselves drawn in with the thinking and research of professional image producers and researchers from other disciplines such as film theory, cultural studies, photo history, dance and performance studies, visual sociology, and architectural theory more willingly than works of cultural anthropologists (Ruby, 1996).
Ethnographic film is the foremost practice and interest between visual anthropologists. There is no particular standard agreed and the accepted supposition is that it is a documentary on the subject of exotic people, thus extending the word ethnographic to put up with any proclamation regarding culture. A number of scholars dispute that every film is ethnographic (Ruby, 2000).
The initial ethnographic films episodes of human activities were impossible to tell apart from theatrical realisms. Anthropologists, similar to everyone else, were mesmerized with the technology and its guarantee to present an...