reality to such a degree that it is often impossible to discern any resemblance between lived life and the cultural formations being described. For MacDougall, the ethical potential of ethnographic filmandphotography lies in its way of returning us to the concrete and detailed features of persons and their environments. Visual media have, as Castaing-Taylor also argues, a capacity for exceeding theory and for ‘showing anthropologists’ purchase on the lived experience of their subjects to be rather more precarious than they would like to believe’ (1996: 88
, sacrifice, and submission of the human subject to an all-encompassing external structuring. If such a finite scheme of analytical thought has been attributed to the worlds of others, then somewhere along the way I must have left behind the ethical writing propagated by writers such as Levinas and Merleau-Ponty (see Chapters 1 and 3 ).
Skimming through my notebooks and the many hours of film material, I am sometimes drawn towards other visions and opportunities that never reached the editing table or the pages of this book. Small details in