A Kalahari Family is s film that embodies representational debates in ethnographic and anthropology media production. It is a reflexive film that provides a visual record of over fifty years of translation the Ju/’hoansi language. Furthermore, it follows their history from the lingering life of hunting and gathering to the contemporary yet problematic living conditions that characterize their contemporary settings (A Kalahari Family). The film serves as a visual record of the geographic and special movements of the Ju’/hoansi people.
Ideally, the film depicts the negative effects that varied developmental agendas and racist ideologies have had on an indigenous community living in the Kalahari Desert. A section of the film also portrays the way John Marshall transitions from an inexperienced and naïve teenager who engages people from an exotic culture to a filmmaker who dedicates his work to advocating for the people with whom he interacts. To a certain extent, his Western characteristics influence his perspectives.
A Kalahari Family is principally a story that is struggling to demystify the misconceptions and myths that are held about Namibia’s “Bushmen” and the foreign economic interests that attempt to exploit them (A Kalahari Family). The film gives the Ju’/hoansi a chance to tell their own story and counter stereotypical notions that they are primitive and wild Bushmen. The film also provides images of the work carried out by Ju’/hoansi in Nyae Nyae as well as the developments they have achieved overtime (A Kalahari Family).
In some instances, Marshall appears representative of the Western hegemony who should be experiencing problematic developmental schemes. A supporter of his work would praise him for the advocacy and the film, which exemplifies the practice of ethnographic documentary film. His film record as well as his in-depth research is referenced in the ethnographic film that highlights carious aspects of Namibia’s Ju/’hoansi people (A Kalahari Family).
The section of the film titled “Death by Myth” focuses on the period after Namibia achieved its independence. It is set in a period when the country experienced an influx in international aid, but the people are not happy about the developmental foundations that are not compatible with their farming lifestyle. The film follows the changes in policy from farming activities to management of wildlife and promotion of cultural tourism. They endure elephants destroying water pumps and lions kill their livestock. At some point, they vote to dismiss the foundation’s directors; however, money for implementing developmental agenda keeps pouring in (A Kalahari Family). The Ju’/hoansi live in a land with great economic promise, but they stay true to their love for nature and vote for the establishment of a conservancy. However, the members of the conservancy receive a measly 75 Namibian dollars. The film depicts a sorry situation in which the farms are failing and the Ju’/hoansi are forced to a life of disease and squalor (A Kalahari Family).
Through the A Kalahari Family, the Ju’/hoansi and John Marshall attempt to advocate for the farming practices. The film is keen on disapproving the myth that the Ju’/hoansi were born hunters who live harmoniously with nature and are unable to change their economy. Contemporary technological advancements enabled John Marshall to depict his work as he interacts with the Ju’/hoansi who have been the primary subjects of his life-long documentary project. The film provides a visuals evidence of Marshall’s transition through shifting styles of documentary film as well as the advancements of technology in filmmaking for over fifty years. Marshall’s role in the film also changes as the series progresses. His technique that began with observational distance later evolves into up-close interactions, thereby depicting his increasing advocacy and political involvement in the affairs.
Work Cited
A Kalahari Family. Marshall, John. Dir. Documentary Educational Resources. 2004. Film.
