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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 | |