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Cover -- Title page -- Copyright page -- Contents -- Foreword -- Editor's Note -- 1. Index Card, Injunctions and Independence: Thoughts on relationship -- 2. Cuts of Various Depths. A few scenes of learning from Pamela Reynolds -- 3. Anthropology and the Development ofConscience. Reflections on the work of Pamela Reynolds -- 4. The Ungovernable and Dangerous. Children, sexuality, and anthropology -- 5. An Anthropology of the Forms that Speak. Justice, Knowledge, Technique -- 6. The Anthropologist Fashions and Refashions, is Fashioned and Refashioned -- Afterword -- Pamela Reynolds. CV & -- Selected Bibliography -- Contributors -- Back cover.

Benjamin Christensen's Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of female "hysterics" and the mentally ill. In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of "documentary" and "fiction."

Cytomegalovirus is a lucid and spare autobiographical narrative by Hervé Guibert (1955-1991) of the everyday moments of his hospitalization due to complications of AIDS. In one of his last works, the acclaimed writer presents his struggle with the disease in terms that are unsentimental and deeply human.