Tim Asch

In the article Out of Sync: The Cinema of Tim Asch, Jay Ruby explores Asch's method of filmmaking, as well as the relationship between Asch and Chagnon, which has given us some of the greatest and most studied works of ethnographic film. Although Asch was not a film student, his success is defined by his ability to separate from the norm, especially his lack of "synchronicity with the received wisdom of the film world and anthropology". Essentially, Asch was not interested in competing with avantgarde artists or conducting his own fieldwork. Instead, he was most concerned with new methods of teaching anthropology within the confines of a classroom, and especially involved in the MACOS project. He realized if he could film in such a way, assisted by an anthropologist who understood the culture and language of a people, students would be able to understand different cultures in relation to their own, rather than seeing them as extremely distant, unevolved people.
What I found most interesting about both The Feast and The Axe fight, which are discussed most extensively within the article, is that each film deals with complex social dynamics as well as characteristics of human nature that are inherent in each and every culture. The Axe Fight explores "alliance theory and notions of fission and fusion", providing a visual way of understanding the lineage that comprises the Yanomami. The Feast focuses on the notion of reciprocity, and the act of sharing/gifting, in creating ties of kinship. This adds an essential dynamic to the film: rather than simply a chonological account of people engaged in an aggressive confrontation, or the sharing of a meal, Asch's films allow us to understand the sophisticated social life within these cultures. In understanding these concepts, students can better relate the cultures of these seemingly savage people to modern social life.
The films of Tim Asche stand apart from most other films, both ethnographic and ordinary, because of his ability to screen them to the his students, receive feedback, and edit/add accordingly. Not many filmmakers are allowed this opportunity; in fact, screenings are usually out of most people's budgets. Therefore, the final structure of the film comes out of teaching. In the article, Asch admits that he changed The Axe Fight twenty five times during one semester. His manipulation of film to create an effective model for teaching university students is extremely successful, for various reasons. It exposes the flaws of anthropology, as well as the multitude of issues that come with attempting to create any representation of reality. The issues of representation, which are inherent within the field of anthropology, are a major aspect of his films, making them self reflexive for Western viewers.