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| Introduction | |
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| A Tentative Overview of Boston-Area Documentary Filmmaking | |
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| Ethnographic Film and Personal Documentary | |
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| Pragmatism: Learning from Experience | |
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| The Mission of American Ethnographic Film and Personal Documentary: The Cambridge Turn | |
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| Subjects for Further Research | |
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| Acknowledgments | |
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| Lorna and John Marshall | |
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| Beginnings: Lorna Marshall and First Film | |
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| John Marshall: The Hunters | |
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| Idylls of the !Kung | |
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| Pedagogy | |
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| Expulsion from Eden: Bitter Melons and N!ai, the Story of a !Kung Woman | |
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| The Pittsburgh Police Films and Brakhage's Eyes | |
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| Putting Down the Camera and Picking Up the Shovel | |
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| The Road Taken: A Kalahari Family | |
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| A Process in Time | |
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| Robert Gardner | |
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| East Coast/West Coast Early Experiments | |
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| Gardner and the Marshalls | |
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| Dead Birds | |
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| The Experience of Filmmaking as Thought Process | |
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| Robert Fulton: Reality's Invisible-"Serious Playing Around" | |
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| Screening Room: Midnight Movies | |
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| City Symphony: Forest of Bliss | |
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| The Return of the Repressed: Ika Hands | |
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| Still Journeying On: Unfinished Examinations of a Life | |
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| Studio7Arts: Sharon Lockhart's Double Tide and Robert Fenz's Correspondence | |
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| Timothy Asch | |
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| Dodoth Morning and the Ethnographic Deadpan | |
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| Asch and the Yanomamo | |
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| The Ax Fight | |
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| Ed Pincus and the Emergence of Personal Documentary | |
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| The Miriam Weinstein Quartet and Richard P. Rogers's Elephants: Fragments of an Argument | |
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| Ed Pincus's Diaries (1971-1976) | |
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| Alfred Guzzetti: Family Portrait Sittings | |
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| Guzzetti: It's a Small World | |
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| Guzzetti: Time Exposure | |
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| Alfred Guzzetti and Personal Cinema | |
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| Air | |
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| Experimental Video: "Language Lessons" | |
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| Scylla and Charybdis | |
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| Still Point | |
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| Ross McElwee | |
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| Finding a Muse: Charleen | |
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| Finding a Voice: Ann Schaetzel's Breaking and Entering and McElwee's Backyard | |
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| Doppleg�nger: Sherman's March | |
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| Nesting Dolls: Time Indefinite | |
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| On the Road Again: Six O'clock News | |
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| Occupational Hazards: Bright Leaves | |
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| Orpheus: In Paraguay and Photographic Memory | |
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| Robb Moss | |
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| Riverdogs: A Possible Eden | |
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| The Tourist: "Freelance Editing" | |
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| Voyage of Life: The Same River Twice | |
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| Panorama: Other Approaches to Personal Documentary | |
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| Steven Ascher and Jeanne Jordan: Families in Transition | |
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| Michel Negroponte: Getting Involved | |
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| Leacock and Lalonde | |
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| The Subject Rebels: Nina | |
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| Davenport's Films and Ed Pincus and Lucia Small's The Axe in the Attic | |
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| The Political Is the Personal: John Gianvito's Profit Motive and the Whispering Wind and Jeff Daniel Silva's Balkan Rhapsodies | |
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| Alexander Olch's The Windmill Movie: "This Little S�ance of Flickering Light" | |
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| Amie Siegel's DDR/DDR | |
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| Lucien Castaing-Taylor and Sensory Ethnography | |
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| Ilisa Barbash | |
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| "Sheeple": Castaing-Taylor's Audio-Video Installations | |
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| The Sensory Ethnography Lab: J. P. Sniadecki, Stephanie Spray, V�r�na Paravel | |
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| Epilogue | |
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| Appendix: Sources for Films | |
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| Notes | |
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| Index | |