Policy

Privacy Policy

Effective date: 2022-01-21

Updated on: 2022-02-03

This Privacy Policy explains the policies of Royal Anthropological Institute on the collection
and use of the information we collect when you access https://raifilm.org.uk (the “Service”). This Privacy Policy describes your
privacy rights and how you are protected under privacy laws.

By using our Service, you are consenting to the collection and use of your information in accordance
with this Privacy Policy. Please do not access or use our Service if you do not consent to the collection
and use of your information as outlined in this Privacy Policy. This Privacy Policy has been created with
the help of CookieScript Privacy Policy Generator.

Royal Anthropological Institute is authorized to modify this Privacy Policy at any time.
This may occur without prior notice.

Royal Anthropological Institute will post the revised Privacy Policy on the https://raifilm.org.uk website

Collection and Use of Your Personal Information

Information We Collect

When using our Service, you will be prompted to provide us with personal information used to
contact or identify you. https://raifilm.org.uk collects the following information:

  • Usage Data
  • Name
  • Email
  • Social Media Profile
  • Work Address
  • Payment Information

Usage Data includes the following:

  • Internet Protocol (IP) address of computers accessing the site
  • Web page requests
  • Referring web pages
  • Browser used to access site
  • Time and date of access

How We Collect Information

https://raifilm.org.uk collects and receives information from you in the following manner:

  • When you fill a registration form or otherwise submit your personal information.
  • When you interact with our Service.

Your information will be stored for up to 365 days after it is
no longer required to provide you the services. Your information may be retained for longer periods for
reporting or record- keeping in accordance with applicable laws. Information which does not identify you
personally may be stored indefinitely.

How We Use Your Information

https://raifilm.org.uk may use your information for the following purposes:

  • Providing and maintaining our Service, as well as monitoring the usage of our Service.
  • For other purposes. Royal Anthropological Institute will use your information for data analysis to identify usage
    trends or determine the effective of our marketing campaigns when reasonable. We will use
    your information to evaluate and improve our Service, products, services, and marketing efforts.
  • Managing your account. Your Personal Data can enable access to multiple functions of our
    Service that are available to registered users.
  • For the performance of a contract. Your Personal Data will assist with the
    development, undertaking, and compliance of a purchase contract for products or services you
    have purchased through our Service.
  • To contact you. Royal Anthropological Institute will contact you by email, phone, SMS, or another form of
    electronic communication related to the functions, products, services, or security updates when
    necessary or reasonable.
  • Marketing and promotional initiatives. Royal Anthropological Institute will use non-specific information gathered
    from you in order to improve our marketing efforts.
  • To update you with news, general information, special offers, new services, and events.
  • Administration information. Your Personal Data will be used as part of the operation of our
    website Administration practices.

How We Share Your Information

Royal Anthropological Institute will share your information, when applicable, in the following situations:

  • With your consent. Royal Anthropological Institute will share your information for any purpose with your explicit
    consent.

Third-party Sharing

Any third party we share your information with must disclose the purpose for which they intend to use
your information. They must retain your information only for the duration disclosed when requesting or
receiving said information. The third-party service provider must not further collect, sell, or use your
personal information except as necessary to perform the specified purpose.

Your information may be shared to a third-party for reasons including:

  • Analytics information. Your information might be shared with online
    analytics tools in order to track and analyse website traffic.

If you choose to provide such information during registration or
otherwise, you are giving Royal Anthropological Institute permission to use, share, and store that information in a manner consistent with
this Privacy Policy.

Your information may be disclosed for additional reasons, including:

  • Complying with applicable laws, regulations, or court orders.
  • Responding to claims that your use of our Service violates third-party rights.
  • Enforcing agreements you make with us, including this Privacy Policy.

Cookies

Cookies are small text files that are placed on your computer by websites that you visit. Websites use
cookies to help users navigate efficiently and perform certain functions. Cookies that are required for
the website to operate properly are allowed to be set without your permission. All other cookies need
to be approved before they can be set in the browser.

  • Strictly necessary cookies. Strictly necessary cookies allow core website functionality such as
    user login and account management. The website cannot be used properly without strictly necessary cookies.
  • Performance cookies. Performance cookies are used to see how visitors use the website, eg.
    analytics cookies. Those cookies cannot be used to directly identify a certain visitor.
  • Targeting cookies. Targeting cookies are used to identify visitors between different websites, eg. content partners, banner networks. Those cookies may be used by companies to build a profile
    of visitor interests or show relevant ads on other websites.
  • Functionality cookies. Functionality cookies are used to remember visitor information on the
    website, eg. language, timezone, enhanced content.
  • Unclassified cookies. Unclassified cookies are cookies that do not belong to any other category
    or are in the process of categorization.

Security

Your information’s security is important to us. https://raifilm.org.uk
utilizes a range of security measures to prevent the misuse, loss, or alteration of the information you have given us.
However, because we cannot guarantee the security of the information you provide us, you must access our service at your
own risk.

Royal Anthropological Institute is not responsible for the performance of websites
operated by third parties or your interactions with them. When you leave this website, we recommend you review the
privacy practices of other websites you interact with and determine the adequacy of those practices.

Contact Us

For any questions, please contact us through the following methods:

Name: Royal Anthropological Institute

Address: Royal Anthropological Institute 50 Fitzroy Street London W1T 5BT United Kingdom

Email: admin@therai.org.uk

Website: https://raifilm.org.uk

Christopher Davis

Christopher Davis is an anthropologist recently retired after many years teaching, first at the University of Michigan and then at SOAS. Her formative research was among the Tabwa living along Lake Tanganyika in the Democratic Republic of the Congo. It has been the foundation for her perspectives on and teaching of both general and medical anthropology as well as her approach to social theory. Her book, Death in Abeyance, was based on this research and won the RAI’s Wellcome Medal for Anthropology as Applied to Medical Problems. Other projects have concerned the emergence of niche perfumery in the context of social media, and the complex interspecies relationships linking human beings and wolves.

For a number of years, she was also involved in the production of documentaries for television through her company, Blackstone Pictures. One film, “Rwanda – the Betrayal” won the Amnesty International UK Media award for best television documentary. More recently, she has been a regular contributor to BBC Radio 4’s flagship arts & cultural events programme, Saturday Review, and has also made occasional contributions to other BBC radio arts programmes.

Dolores Martinez

Departmental Lecturer for Visual, Material and Museum Anthropology

The research for my Oxford DPhil was with Japanese diving women (ama, women who dive for shellfish and seaweed) and fishermen in Mie Prefecture. Kuzaki, the village in which I worked, still functioned as a sacred guild (kambe) for Ise Shrine, the most sacred Shinto Shrine in Japan. This combination of occupation and religious life required me to begin thinking about religion in Japan as well as the broader context of religion in modern societies; while also considering the importance of age and gender in organising religious events and village life, all under the general umbrella of maritime anthropology! Kuzaki also was part of the domestic tourism boom that was important in 1980s Japan, and for several years I wrote about and taught the anthropology of tourism, as well as on Japanese culture and society, and general anthropological theory at SOAS.

Subsequent periods in Japan have been spent working on various aspects of Japanese popular culture. I have more recently published on various areas to do with the anthropology of mass media: Remaking Kurosawa in 2009; (as editor) Documenting the Beijing Olympics in 2010and (as co-editor) Football: from England to the World in 2009.  As well as continuing to write and publish on genderreligion and society,  I am hoping to take my media interest in different directions with new research on the anthropology of fear; feminism in science fiction films and thinking about the mediatization of science in the mass media.

Beate Engelbrecht

Beate Engelbrecht studied in anthropology, sociology and economics. She worked in the Museum der Kulturen Basel and taught anthropology at the universities of Basel and Göttingen. For 25 years she worked at the Institute for Scientific Film in Göttingen as a filmmaker, producer of films, and teacher of Visual Anthropology. For her films, she received several film award. She co-founded the German International Ethnographic Film Festival (GIEFF) in 1993 and the online journal AnthroVision in 2013 published by the Visual Anthropology Network of EASA. Nowadays she works freelance as filmmaker, director of AnthroVision and international coordinator of GIEFF.

Maria Mendonça

Is an ethnomusicologist who teaches in the anthropology and music departments at Kenyon College, OH. Her research interests include the circulation of Indonesian music (particularly gamelan traditions of Java and Bali), music and prisons, ethnographic film, music and cultural diplomacy, and ethnomusicology and the public sector. She is currently working on two film projects: Gamelan Encounters, on Javanese gamelan performance in England, and another on gong-making in Central Java, as well as developing and teaching the course Music, Film and Culture: Ethnographic Perspectives for undergraduate students at Kenyon. She has worked as an ethnomusicologist in a variety of settings in Britain and the US, including Grove Dictionary of Music and Musicians, and several UK arts organizations.

Annie Menter

Annie is an independent creative producer, a curator of Taste the World, WOMAD and a director of Arts and Society. Previously a director of The WOMAD Foundation, a registered charity and the educational arm of WOMAD, her responsibilities included the strategic development of the Foundation, artist residencies, and devising and delivering innovative music and arts programmes for adults and young people. She has worked internationally in partnership with government institutions and universities and research projects have taken her to West Africa, Zimbabwe, South Africa, Sri Lanka, India, South Korea, Australia, New Zealand and Spain. Early in her career she studied textiles specialising in the textiles of Southern Nigeria, curating a touring exhibition with an associated educational programme. She has lectured in ‘Art in Social Context’ at UWE, was a founder member of Vizibility and is a Fellow of the RSA.

Yasmin Fedda

Is an award-winning filmmaker, producer, and curator of films and film programs. Her films include “Ayouni” (2020); “Queens of Syria” (2014); “Steal from the Capitalists” (2015); “A Tale of Two Syrias” (2012); and “Breadmakers” (2007). Her films have been BAFTA-nominated and screened at numerous international festivals including Sundance. Yasmin is Lecturer in Film Practice at Queen Mary University, London where she is also the convenor for the Centre for Film & Ethics.

Christian Suhr

Christian Suhr is a filmmaker, associate professor, and coordinator of the Eye & Mind MSc-Track of Visual Anthropology at Aarhus University. The coming five years he will as PI dedicate his time to the ERC-project: “Heart Openings: The Experience and Cultivation of Love in Buddhism, Christianity, and Islam”. His previous research has focused on invisible spirits, psychiatric illnesses, demonic and divine forces, and how film can be used to approach unseen dimensions of human life. He has explored these topics during fieldwork projects in Egypt, Papua New Guinea, and Denmark.

He is the author of the recent book Descending with angels: Islamic exorcism and psychiatry, a film monograph (Manchester University Press 2019, www.descendingwithangels.com) based on a feature length film of the same title. In addition he is the director of Unity through culture (with Ton Otto, DER 2011), Ngat is dead (with Ton Otto and Steffen Dalsgaard, DER 2009) and Want a camel, yes? (with Mette Bahnsen, Persona Film 2005). Suhr’s edited work includes Transcultural montage (Berghahn 2013), When the media sets the agenda (DJØF 2021) and the special journal issue Camera as cultural critique (Visual Anthropology 31.4 2018).

Mike Poltorak

Dr Mike Poltorak is an Honorary Research Fellow at the School of Anthropology and Conservation at the University of Kent.  Inspired by two years of  integrating video with medical anthropological research on traditional healing and strongly influenced by the vernacular use of video in Tonga, he celebrates the transformative relationship between filmmaker and subjects to creating films with integrity and community value. He led the visual anthropology programme at the University of Kent for ten years. His filmography includes ethnographic documentaries on Tongan comedy, volunteers in an intentional community in Sweden, and the dance form of contact improvisation. His most recent documentary- The Healer and Psychiatrist – has screened at international documentary film festivals and won the best feature film at the Society for Visual Anthropology Film and Media Festival 2020. 

Raminder Kaur

Raminder Kaur is professor of Anthropology and Cultural Studies in the School of Global Studies at the University of Sussex. She is the author of Kudankulam: The Story of an Indo-Russian Nuclear Power Plant (2020); Atomic Mumbai: Living with the Radiance of a Thousand Suns (2013); and Performative Politics and the Cultures of Hinduism (2003/5). She is also co-author of Adventure Comics and Youth Cultures in India (with Saif Eqbal, 2018), Diaspora and Hybridity (with Virinder Kalra and John Hutnyk, 2005); and co-editor of several other books. Aside from her academic writing, she is a scriptwriter, theatre producer and filmmaker www.sohayavisions.com