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A publicação pode ser exportada nos seguintes formatos: referência da APA (American Psychological Association), referência do IEEE (Institute of Electrical and Electronics Engineers), BibTeX e RIS.

Exportar Referência (APA) 
Sampaio, S. (2020). What about media production ethnographies? Forging a media anthropological approach to cinema. 6th EASA Biennial Conference: New anthropological horizons in and beyond Europe, Virtual Lisbon conference.
Exportar Referência (IEEE) 
P. S. Sampaio,  "What about media production ethnographies? Forging a media anthropological approach to cinema", in 6th EASA Biennial Conf.: New anthropological horizons in and beyond Europe, Virtual Lisbon conference, Lisboa, 2020
Exportar BibTeX 
@misc{sampaio2020_1776106237232,
	author = "Sampaio, S.",
	title = "What about media production ethnographies? Forging a media anthropological approach to cinema",
	year = "2020",
	howpublished = "Outro",
	url = "https://easaonline.org/conferences/easa2020/panels#8875"
}
Exportar RIS 
TY  - CPAPER
TI  - What about media production ethnographies? Forging a media anthropological approach to cinema
T2  - 6th EASA Biennial Conference: New anthropological horizons in and beyond Europe, Virtual Lisbon conference
AU  - Sampaio, S.
PY  - 2020
CY  - Lisboa
UR  - https://easaonline.org/conferences/easa2020/panels#8875
AB  - In 1950, Hortense Powdermaker published 'Hollywood, the Dream Factory', the first ethnographic study of a film industry. As an experienced anthropologist, she drew on Bronislaw Malinowski, Franz Boas and other anthropological authorities to frame her inquest and justify her (then rather unorthodox) research object. Powdermaker’s aim was to ‘look at the movies as an anthropologist’, by applying some of the general premises and viewpoints of anthropology to ‘an institution of contemporary society’ (Powdermaker, 1947). The result remains striking, revealing as much about the kind of anthropology that was being practised in those days as about the American film industry itself. I am about to launch a similar ethnographic inquiry into the film production field in Portugal. Though still in its initial stages, the project is placed at the crossroads of media anthropology, media industry studies and media production studies, and shares some of the concerns voiced in this panel. In this paper, I will revisit Powdermaker’s contribution to discuss what it means to choose ethnography to study film production and what a media anthropological approach to cinema might look like. 
ER  -