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Book Reviews | Regular Feature the role of women in the organization of the Flaherty seminar. Michael Renov's (highly touted) contribution is sparse but recalls concretely Nietzsche's criticism that real history is genealogy . He looks at the roles of self-reflectivity and interactivity as focusedbyWendy Clarke's Love Tapes project. AlexandraJuhasz's "Bad Girls Come and Go" is abouttheborders and "dangerplaces" of sexuality in contemporary times, the shaping of anger and desire in transgression "video," and the taboo areas ofhistorical studies (opened by Camille Paglia, among others). The collection of articles under "Filmmaker and Subject: Self/Other" includes essays on African American feminist documentary , rockamentary and a cross-cultural filmmaker's account of making a documentary in feminist and ethnic space. Especially suggestive is the essay by Susan Knobloch on D. A. Pennebacher's documentary about Bob Dylan, Don't Look Back inAnger. She applies the feminist concept ofthe male "gaze" to a male subject with interesting methodological implications. I found the third section of the book most rewarding. It is a notable discussion on memory and historical reconstruction, in the context of ethnic experience, with implications both for documentary filmmakers and historians. Sylvia Kratzer-Julifs' discussion of the reconstructed experience in German film about the Turkish experience concerns the crossroads of history and psychoanalysis and the constructed nature of our subjectivity. Laura Marks' comments on "Fetishes and Fossils" levers Andre Bazin's observation that "photography is fetish and fossil" to a thought provoking analysis ofthe documentary about artist Shauna Beharry and her mother, Seeing is Believing. The contribution by Deborah Lefkowitz on her own holocaust documentary, Intervals of Silence : Being Jewish in Germany raises significant questions concerning silence—and space—inboth documentary filmwitnessing (as substantive testimony) and in historical document generally. Part IV includes self-analysis by feminist documentary filmmakers , including commentary by Julia Lesage. The collection lacks some of the key breakthrough figures in feminist thought about film, such as Eileen McGarry, Mary Ann Doane, Patricia Mellencamp and, especially, Kate Muley and E. Anne Kaplan. But that is exactly the point of this collection. Feminism and Documentary updates the direction of documentary thought and many articles proceed from (and acknowledge) some of these key figures. Feminism andDocumentary is more than a document about cinema studies. It is a guide to the major issues in the study of documentary film today. Both the recognition of the historical study of motion pictures and the emergence of feminist thought occurred at roughly the same point in time, thirty years ago. The importance and impact of feminism on film and history studies is indicated by the attention now paid to the feminine "gaze." On the other hand, it is interesting that Robert Rosenstone's otherwise superb RevisioningHistory—although including several contributions by women scholars—includes no separate article keying to the general film concerns raised by feminist thought. Feminism and Documentary deserves a space on the shelf along with Rosenstone's Revisioning History, Alan Rosenthal's New Challengesfor the Documentary, Rollins' Hollywoodas Historian , and Siegfried Kracuaer's writings. The feminist "gaze,"— as reflected in this book—offers a view from postmodernism to new directions in social and behavioral studies. One last point. Many of the photographs are of such poor quality to be hardly visible. It is unbecoming in a book of such literary quality! Patrick H. Griffin College of the Canyons, Santa Clarita, CA El Camino College, PHGriffin @ aol.com. Steven C. Canon. Lawrence ofArabia: A Film's Anthropology. University of California Press, 1999. 316 pages; $50.00. Never Assume Anything A friend of mine, applying for a tenure track job, found himself sitting before a hiring committee and faced with the following rhetorical question: "I see that you wrote your dissertation on Joseph Conrad. I thought that everything that could be said about Conrad had already been said." Matter of factly, my friend replied, "Well, have you read my dissertation?" The questioner responded, "No." Thirty years later, my friend—the chair of the English department at his university—frequently tells this story to encourage colleagues, students, and of course friends to never assume anything. I remembered this story the moment I picked up Canon's book. Looking at its...

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