Cover -- Contents -- Figures -- Acknowledgements -- Chapter 1: Documentary Film and Observational Cinema in Sardinia -- Problems of Perspective -- Visual Anthropology -- Rethinking Anthropology -- A Difficult Marriage -- Ethnographic Film: Between Art and Science -- Observational Style -- Historical Overview -- Chapter 2: Representation of Culture through Ethnographic Film -- The Illustrative versus the Revelatory -- A Difference of 'Another Order' -- Nature and Nurture: Pictures and Language -- Chapter 3: Illustrative Documentaries: A Dominant Way of Seeing -- Sardinia in Fascist Documentary Films (1922-1945) -- Fascism and Documentary Film -- The Illustrative Mode of Fascism -- The Città di Fondazione (New Towns) -- Carbonia -- Mussolinia di Sardegna -- The 'Old' and the 'New' -- Fertilia di Sardegna -- A 'Colonial' Gaze -- Voice-over and the Picturesque -- Il regno del silenzio -- Viaggio in Sardegna -- Chapter 4: Banditi a Orgosolo: An Anthropological Film -- Banditi a Orgosolo -- The Themes of Banditi -- Italian in Place of Sardinian Speech -- De Seta's Working Practice as Ethnographic Filmmaker -- The Copernican Camera -- Chapter 5: Tempus de Baristas: Transcultural Cinema -- Tempus de Baristas -- Between Observational and Participatory Cinema -- Epistemology and Open-endedness -- Filmmaker, Subjects and Ethics -- Unprivileged Camera and Long Take -- The Position of the Spectator -- A Different Kind of Knowledge -- Corporeal Images -- Ethnography as Self-Inscription -- The 'Eye' and the 'I' -- Speech and Existence -- Silence and Beyond -- Conclusion -- Filmography -- Bibliography -- Index.