John Marshall's Kalahari Family

Throughout his career and through his films, John Marshall has embodied many representational debates in anthropology and ethnographic media production. With A Kalahari Family, Marshall has provided his most reflexive film to date as well as a comprehensive visual record of 50 years of transition among the Ju'hoansi, from lingering, hunter-gatherer subsistence to problematic and often tragic contemporary living conditions. A Kalahari Family bears witness to the negative effects a racist ideology and varied development agendas have had on an indigenous group of people, and the transformative effects they continue to have. In the film, the audience also witnesses the evolution of John Marshall himself, from naïve, inexperienced teenager engaging an exotic other, with all the inherent cultural baggage of a Western perspective, to his eventual emergence as a filmmaker and a dedicated advocate for the people with whom he has become so involved.     

The Last of the Great (Foot-Slogging) Explorers: Lewis Cotlow and the Ethnographic Imaginary in Popular Travel Film

This essay focuses on the popular travel films and books of Lewis Cotlow (1898-1987), an American explorer, author, filmmaker, insurance broker and amateur ethnographer who made photographic expeditions to Africa, South America, New Guinea, and the Arctic from the 1930s to the 1950s. This essay aims to uncover the shared historical practices and narratives in travel film and ethnographic film, examining scientific films in light of popular forms of anthropological cinema. In particular, the author examines the construction of an ethnographic imaginary and modes of ethnographic realism in the feature-length color film Jungle Headhunters [1950], shot during Cotlow's various expeditions to the Amazon during the 1940s.     

Knowledge as the source of progress: The Marshall family testament to the “Bushmen”

There can be no doubt that the Marshalls’ testament to the “Bushmen,” particularly Elizabeth's The Harmless People and John's The Hunters, played a major role in shaping a public image of humankind's ancient ancestors, especially in the United States. John has said, correctly I believe, that simply by being made known through his family's efforts, Khoisan‐speaking “Bushmen” were brought into the surviving ethnographic record that intrigued a growing number of anthropologists as well as the general public at the beginning of the 1960s. I offer here a preliminary account, based on archival materials, personal letters, etc., of the paradigms and politics that underlay their efforts. I begin with an examination of the extent to which Laurence Marshall must be seen as the inspiration for and the driving force behind the family project, then turn to a consideration of J. O. Brew's role in it. Although this was an ethnoarchaeological project from its beginning, Brew's role has been wholly unappreciated, but cannot be exaggerated; he was, in terminology appropriate to the business nature of the case, Chief Executive Officer to Laurence's Chairman of the Board.

I then turn to the political arena of prehistory—of the living and the dead—that became as important as the arena of its field sites in the 1960s. The Marshalls were thrust into dormancy by academically more powerful rivals who publicly and privately contested their work, but there can be little doubt that their record critically influenced reawakening anthropological interest in hunting societies. Indeed, struggles to be the proprietary heirs to the Marshalls’ “Bushman” legacy ricochetted off the walls of academia from Cambridge (US) to Berkeley to Johannesburg to London to Cambridge (UK).

Finally, I consider the mythic underpinnings of the Marshalls’ work, and conclude that while Elizabeth, in The Harmless People, presents the least occluded view of the Marshalls’ Kalahari, seen as a whole John's “Bushmen” films reveal the expanding of a sensitive consciousness not only to a gestalt of life but to the complexity of filmic (re)presentation and to the limitations of audiences to comprehend what is presented. Collectively, his films constitute important ethnographic documents. They are not, however, dependable documents of the objectified peoples made subjects in the films, but faithful documents of the filmmaker/ethnographer situated in the discourse of a distorted modernity at the time they were made. They permit us to draw inferences about the species of colonial ideology that was pervasive at that time.     

Psychospiritual ecoscience: The Ju/'hoansi and cultural tourism

The relation between knowledge and the visual, on the one hand, and knowledge about peoples on the other, is a prime concern in visual anthropology. The impact of the visual on the everyday life of the Ju/'hoansi is my concern here. This paper is offered in two parts: this article and the one which follows.

The results of a field‐trip in July 1996 to Otjozondjupa (previously known as Bush‐manland) in Namibia are discussed in terms of the question: How do subjects make sense of the anthropological?¹ Our “subject community” was the Ju/'hoansi of Nyae Nyae. The “texts” we interrogated through Ju/'hoansi popular memory were those made of them by the documentary filmmaker John Marshall, a South African feature‐film director, Jamie Uys, and one by the Discovery Channel.     

Palestinians in film: Representing and being represented in the cinematic struggle for national identity

The Israeli‐Palestinian conflict has frequently been the focus of Western‐produced documentary films, which seek to explain the core of the problem. Claims to a truthful representation of reality have traditionally been linked to a parallel assumption of ethnographic authority over Palestinians who, unlike Israelis, had until recently little access to filmic means of representation. Through a number of documentaries, produced by both Palestinians and non‐Palestinians, the paper analyzes the crucial impact of the Intifadah on the development of local media in the Occupied Territories. The paper argues that by taking up film and ethnographic techniques as they had been developed in the West, documentaries produced by Palestinians have successfully generated alternative views of the conflict.     

Playing primitive: “In the land of the headhunters” and/or “war canoes”

Edward Curtis's 1914 film of the Kwakiutl of British Columbia is analyzed from the perspective of early ("primitive") cinema and the avant‐garde. The original film, In the Land of the Headhunters, is recontextualized and compared both to Nanook of the North and fiction filmmaking of the silent period; the restored film, In the Land of the War Canoes, is considered from the perspective of ethnographic spectatorship and native reappropriation of colonialist texts. As an allegory of the “salvage paradigm,” Curtis's ethnography is positioned within a postmodernist discourse on cultural representation.     

Primal Anxiety,Sanctified Landscapes: The Imagery of Primitiveness in the Ethnographic Fictions of Laurens van der Post

An image of Bushmen etched by ethnographers rapidly emerged as a centerpiece of anthropological practice during the first decades (1947-1968) of the Cold War. But that unifying image of a mythic human past--of absolute primitiveness with ethnographic authenticity--was constructed in the Kalahari before any anthropologist arrived there. The popular image was forged in Laurens van der Post's TV films for the BBC, first shown in 1956, and in his books derived from those films, and almost simultaneously by the Marshall family's work. The Cold War forged a crisis in Euroamerican ontology, a crisis of personal and collective identity, of continuity with the past and continuation with the future. It was most forcefully couched in terms of a threat to cultural life as Western Europe and America knew it, a threat perceived to be posed by modernity with its science and technology and its more perplexing questioning of cultural meaning, a threat made tangible in an atmosphere of immanent nuclear annihilation and lingering ecological dissolution reinforced by a modernist communist menace. "A metaphorically powerful response to the crisis arose in a revival of attention to humankind's presumptive primordial roots; along with extinct and extant primates, Bushmen quickly became a main subject of this attention, proposed as examplars of Euroamerica's image of what its evolutionary alter ego ought to be and could become again. I focus on this image as it evolved in the work of van der Post, who articulated most explicitly that diffuse Euroamerican fear smoldering in the ashes of World War II. Van der Post configured his myth in conceptions of natural being and an individualized collective unconsious drawn from Jung and the antimodern reflections of T.S. Eliot. The imagery of his books and films has since been absorbed by countless millions all over the world. The expression of spiritual loss found in them resonates with general cultural fear persisting in Euroamerica; that, coupled with the compensation of mystical love, is what appeals to those who share his faith. Bushmen ethnographers, although moving from a differnt motivation, echoed the essentialist rhetoric embedded in this popular discouse. An analysis of van der Post's contribution to this discourse tells much about the anthropological interest that followed."     

Comic woman,victim woman: Pushing gender and genre boundaries in popular Hindi Cinema

“Women's film” in Hollywood is associated both with the genre of melodrama, the “weepie”, and with female spectatorship. In the Indian context of popular Hindi cinema, first, genre analysis itself is a questionable line of inquiry since several genres, the melodrama, musical, gangster, or mystery, combine in a single film, known locally as the masala (spicy) film; and second, films are scarcely divided by a gendered viewership. Yet I identify “women's films” as a distinct category in Hindi cinema, emerging around the ‘70s. These women's films typically center on female protagonists, dramatize their victimization and vindication; by the ‘80s under a range of influences these films mutated into rape‐revenge narratives.

However, another strain emerged within the ‘70s’ “women's film,” which drew on cinema's rich visual iconographic tradition of the sight gag, promulgating the comedic/tomboy heroine figure. It favored laughing and mocking patriarchal structures rather than surrendering to them in tears. Focusing on Ramesh Sippy's Sita aur Gita [1972] emblematic of this trend I explore theoretical concerns about associating genres with gender. In keeping with recent poststructuralist theories about gender and media ‘consumption I show how the film destabilized clear‐cut gender identification and stood for a promising trend that was sadly undercut. Thus, while genre might still be a useful analytical tool for Hindi cinema, defining women's film as female‐centered narratives is a viable category as long as we appreciate the instability in gendered viewer identification.     

Pikisi kwaiyai! (pictures tonight!): The screening and reception of ethnographic film in the Trobriand Islands,Papua New Guinea

Ethnographic films hold great historical value for the communities in which they were filmed, yet people in source communities often lack access to them. Visitors engaging in ‘visual repatriation’ of ethnographic film can enrich both sides of the ethnographic exchange. I review my experiences screening ethnographic films with Trobriand Islanders, their reactions, and the various ways in which local communities regain ownership of these films, including re‐narration and renaming. My findings reiterate how source communities' reception of, and uses for, ethnographic film can sharply differ from the filmmakers' original agenda.     

Textualizing the san “past”: Dancing with development

The anthropology of conservation and the way that visual media, especially documentary film, contribute to mythical Tourist perceptions of the San, are discussed in relation to categories of conservancy, living museums, cultural ecology and the marketing of ecological legitimacy. The central metaphor of dance as a mythical tourist image of Africa is the vehicle through which the analysis is undertaken.     

Beyond authenticity: The discourse of tourism in ethnographic and experimental film

This paper explores the relationship between postmodern ethnographic and experimental filmmaking. Recent shifts in both modes of film praxis away from modernist paradigms of anthropology and aesthetics have disclosed a rich field of nonscientific, non‐visionary common ground. Theoretical issues that help to define this inter‐penetration of film modes include allegory, tourism and intertextuality. Films by Jonas Mekas, Trinh Minh‐ha, David Byrne and Paula Gaitan are discussed with the aim of indicating the scope, the potential and the problems of postmodern ethnography.     

Book reviews

In Search of the San Paul Weinberg, 1997, In Search of the San. Text and Photographs by Paul Weinberg. Johannesburg: The Porcupine Press. 80pp. Notes on Pronunciation. “Introduction” by Riaan de Villiers.

Bush for the Bushman Perrott, John. Bush for the Bushman. Need “The Gods Must Be Crazy” Kalahari People Die? Greenville, PA.: Beaver Pond. 1992. Photographs.

Healing Makes our Hearts Happy Richard Katz, Megan Biesele, Verna St. Denis, Healing Makes our Hearts Happy: Spirituality and Transformation among the Kalahari Ju/'hoansi. Rochester, Vermont: Inner Traditions, 1997. 214 pp. US$29.95

Africa on Film Kenneth M. Cameron. Africa on Film: Beyond Black and White. New York: Continuum, 1994. 240 pp., photos, index, filmography, bibliography. ISBN: 0–8264–0658–0.

America's Dark Images of Africa In Darkest Hollywood: Cinema and Apartheid. Produced by Peter Davis and Daniel Riesenfeld. 1994. Two VHS videotapes, each 55 minutes. Distributed by Villon Films, 77 West 28th Avenue, Vancouver, BC, V5Y 2K7, Canada.

Davis, Peter. In Darkest Hollywood: Exploring the Jungles of Cinema's South Africa. Athens, Ohio: Ohio University Press, 1996. 190 pp., illus., paperback.     

People of the Great Sandface

“The final year in the traditional life of the last free‐living !Gwikwe Bushmen of the central Kalahari Desert of Botswana, before they followed others to a government settlement, becomes a moving and sensitive celebration of their struggle for survival. Having learnt the techniques needed to make the film single‐handedly Paul Myburgh went to extraordinary lengths of physical endurance and deprivation to put on record the last group of bushmen living in the old nomadic way. An anthropologist, he lived for 22 months in the bush. To him it represents their final exodus, and is an informative portrayal of life in a band of people whose way of life represents a vanishing link with our past. Myburgh's photography is superb: sweeping shots setting the scene of the endless desert contrasted with the frenzy of the hunt and the gnarled, wizened face of the oldest woman, the wiggly walk of the youngest child. Myburgh's familiarity with the !Gwikwe allowed him to shoot intimate scenes in which the subjects seem totally unaware of the camera, allowing the viewer a unique experience of their exodus: for instance, the tribal puberty dance, an event which men are prohibited from watching. In the end it is sensible, but immeasurably sad, that the !Gwikwe, for their survival, must concede that the desert has defeated them. The film becomes an uncanny time capsule of man's earlier days and one is left with the feeling that through the ages we've lost something: a spirit of community, perhaps. This film is the final record of these ancient people—the hunters with the poison arrows, the people of the healing dance, the painters of Southern Africa's rock art treasures who speak with a strange clicking tongue—a vanishing phase of human culture. In the closing scene a bush‐man gazes in incomprehension at water splashing from a tap; ironically, beyond contemporary Western understanding too” [Cinema Under Siege, 1990:50].     

“Two kinds of bioscope”: Practical community concerns and ethnographic film in Namibia

A quote from a Namibian Ju/'hoan political leader introduces the topic of community concerns about the practical implications of various styles of ethnographic filmmaking. The main issues addressed include communication, leadership, and decision‐making processes internal to the community being filmed; development planning and self‐presentation in state and international contexts; community participation in design of, and remuneration from, film projects; images produced and their relevance to governmental and international funding; and dialogue within both the local and the anthropological communities on the consequences of filmic decisions. Examples from six film projects in Nyae Nyae, Namibia, over the last decade are used to illustrate how complex land rights, natural resource rights, development planning, and external political issues may be more (or less) effectively dealt with depending on community involvement, presentational choices and activist goals.     

The shaping of Gujarati Cinema: Recognizing the new in traditional cultures

The study of ethnographic film has turned to the study of indigenous productions, primarily nonfictional videos made by native persons for internal and external consumption. This study was prompted by the need to locate alternate ways of seeing that Nonwestern peoples may have. This paper suggests that it is important to study local genius by studying their fictional films as well, and suggests that newness may not be found at first encounter but later after native groups domesticate foreign technology and make it their own tool. In citing this, the paper describes the various genres of films within contemporary Gujarati cinema and how the hybridity of its present forms has been procured from several sources that make for a distinctiveness which underlines emergent creative social forces at play.     

Out of words: The æsthesodic cine‐eye of Robert Gardner: An Exegesis and Interview

Anthropological evaluations of the film work of Robert Gardner have been compromised by their reluctance to engage with it as art, and more broadly, to celebrate rather than vilify the aesthetic possibilities of the genre of ethnographic film. Even recent experiments with reflexivity have done little to challenge the realism that undergirds anthropological reception of non‐fiction film. By contrast, this article and interview considers Gardner's work as both anthropology and art. In particular, it addresses the evolving dialectic of the verbal and the visual in his films, from Bhinden Harbour (1951) to Passenger (1998). It also argues that recent efforts by anthropologists to rethink the concept of culture from a post‐semiotic perspective, foregrounding corporeal embodiment in the constitution of culture as much as the self, expand the theoretical boundaries of visual anthropology. In turn, it suggests that this reorientation towards sensation and perception should allow for a more approbatory understanding of Gardner's films.     

Viewing the past: Ethnoarchaeology at al‐Hiba

An ethnoarchaeological project at al‐Hiba on the edge of the marshes in southern Iraq examines some of the ways that ethnoarchaeological evidence enriches conventional ideas of the relation between behavior and material remains, of the interpretation of materials in the archaeological record and of both the process and nature of change. The author stresses the importance of the visual in recording and understanding ethnographic detail and believes that only long‐term, intensive observation can protect us from pur own preconceptions, the pitfalls of relying on biased, ignorant, or culture‐protective informants or the danger of questionnaires which are too easily manipulated by intention or accident.     

Civilization,wilderness and secrecy: Making two Nigerian films

This paper draws on fieldwork and filmmaking experiences and explores the interpretive process shared between the object, filmmaker, and audience. Mammy Water: In Search of the Water Spirits in Nigeria [1989] is the result of extensive field research and close collaboration between the local community, the researcher/filmmaker and team. Mammy Water priviledges local views on the subject over the academic discourse taking place elsewhere. This has evoked diverse reactions. Some miss the (Western) analytical level, others engage in the discourse itself, or assume the film's own position. The issue of cultural perspective is carried even further in cinematography. Both films discussed here were made not only in close collaboration with African communities but also photographed by an African cinematographer, Alhaji Yusufu Mohammed. His camera evokes diametrically opposed reactions from African and Western viewers. Where Westerners perceive “distance”, African audiences perceive “closeness”, where Westerners perceive a scene as “staged”, African audiences perceive it as “natural”. This contrast of perception is further highlighted in Owu: Chidi Joins the Okoroshi Secret Society [1991], mostly filmed by Alhaji, but complemented by two video inserts by my daughter, Saskia Jell, who produced additional behind‐the‐scenes footage in Coming to Nigeria.

Reviewers have raised another important topic. Owu points to three different levels of secrecy surrounding the masquerade and initiation into Oguta's Okoroshi society. This in turn raises questions on if and how to represent secrecy and the dichotomy between civilization and wilderness on film.

A discussion of post‐production at the IWF introduces a negative dimension and questions the undue impact of politics, German rigidity, and other impediments.

In conclusion, my films are strongly grounded in long‐term field research, and indebted to the people whose cultures I have researched, as well as to Alhaji Yusufu Mohammed's cinematic representation. Situated between Africa and the Western world, my films contain elements of both African and Western cultures, as they attempt to mediate between them. 1 am looking to the genre of ethnographic film primarily for its effort to create meaning in interpreting and representing cultures, for its position between the cultural worlds, and for its possibilities for transcultural communication. This goal could be served by a plurality of methods, different film styles, and varied authors within the same genre.     

In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing

Jerome Mintz Retrospective: 1968–1986 The Shoemaker. 1978, black‐and‐white, 34 minutes. Pepe's Family. 1978, black‐and‐white, 41 minutes. Perico the Bowlmaker. 1978, black‐and‐white, 45 minutes. The Shepherd's Family. 1978, black‐and‐white, 22 minutes. All produced, directed, and edited by Jerome Mintz; Camera and Sound: Jerome Mintz; Narration: Russ Salmon and Charles Vitaliano. All in Spanish with English voice‐over. 16mm and ½″ VHS video. Distributor: Documentary Educational Resources, 101 Morse Street, Watertown, MA 02172, USA, (617–926–9519).

Carnaval de Pueblo. 1987, color, 58 minutes. Produced, directed, and edited by Jerome Mintz; Camera: Jerome Mintz; Assistant Camera and Sound: Ron Hess; Assistant Editors: Michael Frisino, Carla Mintz, Maria Sendra, and Susan Schwibs; Subtitles: Elaina Frabaschi. 16 mm and ½” VHS video. Distributor: Documentary Educational Resources, 101 Morse Street, Watertown, MA 02172, USA, (617–926–9519).

Romeria: Day of the Virgin. 1986, color, 54 minutes. Produced, directed, and edited by Jerome Mintz; Camera: Jerome Mintz; Sound: Aaron Mintz; Assistant editors: Carla Mintz and Michael Frisino. 16 mm and ½″ VHS video.

An Interview with Jerome Mintz Jerome Mintz is a professor of anthropology at Indiana University, the department from which he received his Ph.D. in 1961. His main areas of interest include ethnographic film, myth and folklore, peasant society, folk religion, revitalization movements, anarchism, and Hasidism. He has conducted extensive field work in Spain as well as with Hasidic Jews in New York. While in the field in Spain, Mintz produced a large body of 16mm film footage and taped interviews between 1968 and 1971. These materials were eventually edited to produce four black‐and‐white films focusing on individuals, their families, and social networks. More recently Mintz has produced two films, Romeria: Day of The Virgin, and Carnaval de Pueblo, which have received widespread attention over the past two years. These films are all discussed in the accompanying review.

My Town—Mio Paese Produced and directed by Katherine Gulla; Camera: In Italy, Peter Sturken, in Massachusetts, Brian Dowley and Frank Lane; Sound: In Italy, Vladimir Lozinski, in Massachusetts, Francis X. Coakley, Nancy Cohen, Margo Garrison, and Dan Jones; Editor: Dan McCabe. Original languages English and Italian, English narration, English subtitles. 1986, color, 26 minutes, ½”, ¾” video. Price: Sale: $330; Rental: $35. Distributor: University of California Extension Media Center, 2176 Shattuck Avenue, Berkeley, CA 94704, USA, (415–642–0460).

Ave Maria: The Story of the Fisherman's Feast Produced and directed by Beth Harrington; Camera: Nancy Moloney, Kathy Campbell, Dave Zeland, and Nick Wakefield, 1986, color, 24 minutes, ½″, ¾” video. Price: Sale: $320; Rental: $33. Distributor: University of California Extension Media Center, 2176 Shattuck Avenue, Berkeley, CA 94704, USA, (415–642–0460).

Sophia and Her People: Eventful Lives Produced by Peter Loizos with the Cyprus Broadcasting Corporation; Directed and edited by Peter Loizos; Camera: Andros Theodora. Original language Cypriot Greek with English subtitles. 1985, color and black‐and‐white, 34 minutes, ½”, ¾” NTSC, PAL video. Distributor: Peter Loizos, Department of Anthropology, London School of Economics, Houghton Street, London WC2A 2AE, U.K.

Warriors and Maidens: Gender Relations in a Cretan Mountain Village A film by Barry Machin. 1988, color, 51 minutes, ½″ NTSC and PAL video. Sale Price: $310. Original language Greek with English narration and subtitles. Photocopy of monograph is available for $100. Distributor: Meriwa Films, 43 Meriwa Street, Perth 6009, West Australia.

Bride Market of Imilchil Produced and directed by Christian Pierce and Steffen Pierce. Camera: Christian Pierce and Steffen Pierce; Sound: Daniel Hartnett; Editors: Tom Barber, Tom Shaker, Steven Rausch; Production Coordinator: Rebecca Willis; Translator: Mohammed Rdad. 1988, color, 58 minutes, ½” and ¾” video. Distributor: Pierce Productions, 56 Ridgemont Street, Allston, MA 02134, USA, (617–254–0821).

The Kayapó “The Kayapó” (Granada Television's Disappearing World Series). Produced and directed by Michael Beckham. Executive Producer: Rod Caird; Camera: Mike Blakeley; Sound: David Woods; Editor: Paul Griffiths‐Davies; Anthropologist: Terence Turner; Research: Peter Connors; Film Dubbing: John Whitworth; Graphic Design: Valerie Pye. 1987, color, 52 minutes, 35mm. Distributor: Granada Television of England, 36 Golden Square, London W1R 4AH, UK and 1221 Avenue of the Americas, Suite 3468, New York, NY 10020, USA. “The Golden Curse of the Kayapó.” National Geographic Explorer Series. 1988. “Without Borders”. Segment on the Kayapó Indians of Brazil. Turner Broadcasting Systems. 1988. “Os Kayapós Descobrem as Barragens”. Produced and directed by Centro Ecumenico de Documentação (CEDI) and the Kayapó of Gorotire. Camera: Paiakan Kayapó. 1988, color, 120 minutes, ½″ video. Portuguese and Kayapó. Distributor: CEDI, São Paulo, S.P., Brazil.

Consider Anything, Only Don't Cry Produced, directed, and edited by Helen De Michiel; Sound: Vernon E. Norwood. 1987, 22:05 minutes, color, ½” video. Distributor: Intermedia Arts, 425 Ontario Street, SE, Minneapolis, MN 55414, USA, (612–627–4444).

A Song of Air Written, directed, and edited by Merilee Bennett; Production assistance: Australian Film Commission. 1987, 28 minutes, color, black‐and‐white, ½″ NTSC video, narration in English. Distributor: Australian Film Commission, 9229 W. Sunset Boulevard, #6515, Beverly Hills, CA, USA, (213–275–7074).

Marriage, migration and money: Mira Nair's cinema of displacement

So Far from India Produced and Directed by Mira Nair. Camera: Mitch Epstein. Sound: Alexander Griswold. Editor: Ann Schaetzel. 16mm, ½″ video. English subtitles. Distributed by Filmmaker's Library, 124 E. 40th Street, New York, NY 10016, USA, (212–808–4980). Film Price: Sale $750; Rental $75. Video Price: Sale $400.

India Cabaret Produced and Directed by Mira Nair. Camera: Mitch Epstein. Sound: Alexander Griswold. Editing: Barry Alexander Brown. 1985.16mm, ½” video, color, 60 minutes. English subtitles. Distributed by Filmmaker's Library, 124 E. 40th Street, New York, NY 10016, USA, (212–808–4980). Film Price: Sale $850; rental $85. Video Price: Sale $500.

Salaam Bombay! Produced and Directed by Mira Nair. Camera: S. Sissel. Editing: Barry Alexander Brown. Story: Mira Nair and Soom Taraporevala. Screenplay: Soom Taraporevala. 1988, 16mm, 35mm, color, 90 minutes. Distributed by Cinecom, Inc., New York.