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French anthropologist and filmmaker Jean Rouch made over 100 films throughout his long career, the bulk of which were recorded in West Africa.
The purpose of this dissertation is to investigate politeness strategies which a Japanese person applied in a series of intercultural communications.
These strategies used in several different situations were examined from a cultural/social viewpoint as well as intercultural pragmatics.
Three different groups of people across two cultures then evaluated the Japanese actor's behaviors by filling out the questionnaire.
Interviews were also conducted with some of the participants from these three groups.
And in spite of Rouch's efforts to use film as a means to transform anthropology into a more collaborative and dialogic undertaking, many African filmmakers accused Rouch of having an imperialist vision of his African subjects.
Rouch was also criticized - and not only by Africans - for his aversion towards politics and for what some perceived as a tendency to avoid political controversy in his films.
This dissertation examines the evolution of Rouch's filmmaking practice, looking, in particular, at the role that French imperial culture and the colonial situation played in shaping his ideas about both anthropology and film.
Rouch's life and work took shape in dialogue with both France's imperial project and West Africa's struggle for independence from (neo)colonial power.
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