ys in which media texts, the strategies used todistribute them and their communication strat-egies connect local grassroots groups workingtowards social justice

focused on the documentary history of the United States, attemptsto create a more solid foundation for discussions of documentary and social changeby paying close attention to the kind of small-scale organizing that often gets lostin studies focused on global documentary.

certain non-gay cultural forms,such as the musical, or grand opera, or pop music, or women’s day-time TV, provide a liberation far more complete than gay politics canoffer, since the latter aspires only to improve the world and does notalter your situation in it or your subjection to it

It is better able tocapture the kaleidoscopic range and breadth of gay subjectivity

ndrew Sullivan is quite right, in a sense: public culture haschanged, and homo sex u al ity now is much more fully integrated intoit. That certainly makes a big difference, and it makes traditional gaymale culture at least look a lot less relevan

which in-voked the righteous ness of love, equality, and community but withoutreference to any specific group, were massively popular in gay discos

ersonal queerness into total,global queerness

Mr. Taberski takes listeners on a drive up to Mr. Simmons’s gated home for what he half-seriouslycalls a “stakeout.” “I don’t want him to feel like I’m invading his privacy,” Mr. Taberski says. “On the other hand, I’mRichard’s friend

He takes a moment to note that Mr. Simmons’s gender identity is nobody’s business but his own,then forges right ahead.

ike the suggestion that his physical decline has made Mr.Simmons depressed, or that he’s grieving the deaths of his dogs

is laced with a certain crueltythat, like the antiwoman and antigay humor, gives one occasional pauseamid the chuckles

etic mode: emphasizes visual associations, tonal or rhythmicqualities, descriptive passages, and formal organization. Thismode bears a close proximity to experimental, personal, andavant-garde filmmaking.

Expository mode: emphasizes voice over commentary, a problem/solution structure, an argumentative logic, and evidentiaryediting. This is the mode that most people associate withdocumentary in general

articipatory mode: emphasizes the interaction betweenfilmmaker and subject. Filming takes place by means ofinterviews or other forms of even more direct involvement, suchas conversations or provocations. This mode is often coupledwith archival footage to examine historical issues

omatic Symptom

Other dances were entirely social, for pleasure,amusement and humour.

“primitive”

Hopi cosmologyand to human artistic endeavor generally: a search fororder in the natural world, the relationship of art andritual, and the linkage of individual creative acts to be-liefs about primal acts of creation.

As Susan Sontag argues, “meaning isnever monogamous.”

“an awareness of other cultures’ bound-aries and contexts” as one way of respecting “the sym-bols, acts or materials sacred to others.

Will appropriation andneoprimitivism necessarily continue to naturalize theentrenched self/other dichotomy? Yes, many scholarsargue, if the discussion is framed in terms of Euro-American needs and values.

exoticism

The first eight days of thenine-day ceremonial were traditionally private, reflect-ing the widespread Pueblo ambivalence towardsstrangers in cosmic or tribal space and the possible in-troduction of evil accompanying their presence.

Anthropologist J. WalterFewkes described the Snake Dance as “an elaborateprayer for rain, in which the reptiles are gathered fromthe fields, intrusted with the prayers of the people, andthen given their liberty to bear these petitions to thedivinities who can bring the blessing of copious rainsto the parched and arid farms of the Hopi.