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Ethnographers’ Self-Depiction in the Photographs from the Field. Post-War Ethnology in Poland metaphor of fieldwork, the ethnographic research is an arena of the social theatre, where the social boundaries are negotiated and established. However, the game between the ethnographer and the informant not only involves the negotiation and construction of authority but it also needs to be convincing for the viewers that they glance at the reality. As Burchard argues, the ethnographic research might be a game in which eloquence and psychological knowledge are considered to be important for both sides (Burchard 1964). The photographs from the field are like headnotes, not only important for visual ethnographers but also ethnographic historians who conduct research in archives on alternative histories and politics of representation in anthropology. The photographs are truly an ethnographic source, particularly since they attempt to not only show other cultures but also ethnographers themselves. References Bal M. 2007. Narratology. Introduction to the Theory of Narrative. Toronto: University of Toronto Press. Banks M. & Vokes R. 2010. Introduction: Anthropology, Photography and the Archive. History and Anthropology, vol. 21, no. 4, pp. 337-349. Barthes R. 1993. Camera Lucida: Reflections on Photography. London: Vintage Books. Buliñski T. & Kairski M. 2013. Pytanie o teren w antropologii (‘The Question of Field in Anthropology). In: T. Buliriski & M. Kairski (eds.), Teren w antropologii. Praktyka badawcza we wspôlczesnej antropologii kulturowej (The Field in Anthropology. The Practice of Research in Contemporary Cultural Anthropology). Poznañ: Wydawnictwo Naukowe UAM. Burchard P 1964. Krok za rogatki (‘Step by Turnpike’). Warsaw: Ludowa Spdldzielnia Wydawnicza. Burszta W. & Kopczyriska-Jaworska B. 1982. Polska etnografia (etnologia) po II wojnie swiatowej (‘Polish Ethnography [Ethnology] after World War IT). Lud, vol. 66, pp. 3-18. Clifford J. 1988. On Ethnographic Authority. In: The Predicament of Culture. Twentieth Century Ethnography, Literature and Art. Cambridge: Harvard University Press, pp. 118-146. Driegiel L. 1996. Swoboda na smyczy. Wspomnienia 1946-1956 (‘Freedom on the Leash. Memories 1946— 1956’). Krakow: Wydawnictwo ARCANA. Edwards E. 1997. Beyond the Boundary: A Consideration of Expressive in Photography and Anthropology. In: M. Banks & H. Morphy (eds.), Rethinking Visual Anthropology. New Haven, CT: Yale University Press, pp. 53-80. Edwards E. & Hart J. 2004. Mixed Box: The Cultural Biography of a Box of “Ethnographic” Photographs. In: E. Edwards & J. Hart (eds.), Photographs Objects Histories: On the Materiality of Images. London, New York: Routledge, pp. 47-61. Ertem E 2006. Re-Thinking the Act of Posing in Ralph Eugene Meatyard’s “The Family Album of Lucybelle Crater’. Ankara Universitesi Dil ve Tarih-Cografya Fakiiltesi Dergisi, vol. 46, no. 1, pp. 153-164. Geertz C. 1988. Works and Lives: The Anthropologist as Author. Stanford, CA: Stanford University Press. Griffith A. 2002. Wondrous Difference: Cinema, Anthropology, and Turn-of-the-Century Visual Culture. New York: Columbia University Press. 77
