Today the Hawk Takes One Chick contributes to the living archive of ethnographic works on the impact of HIV/AIDS (Susan Levine, ‘‘STEPS for the Future: HIV/ AIDS and the Emergence of Media Activism in Southern Africa,’’ Visual Anthropology Review 19 (1): 57–72, 2003). It chronicles a generation of women close to the end of their vital lives, and raises significant anthropological questions about the meaning of such an end for young people living with chronic poverty and illness. As a ped- agogical tool for students of visual anthropology, the film demonstrates the value of observational cinema and the value of constructing narratives from what people say in the field using subtitles rather than wall-to-wall narra- tion. The film also raises critical questions about the nature of silent subjects, in this case, the children whose parents have died, but who remain voiceless, except through the words and images that adults make. The film thus works as well in courses of visual anthropology as it would in courses of ethnographic method and narrative. Great Falls: Discovery, Destruction and Preservation in a Massachusetts Town Directed by Ted Timreck, 2010, 104 minutes, color. Dis- tributed by Hidden Landscapes, 1 Hewins Farm Road, Wellesley, MA 02481, http://www.hiddenlandscape.com John W. Norder Michigan State University Ceremonial landscapes and their material expressions have been a common area of study for decades around the globe. In Europe, megalithic stone constructions such as the familiar Stonehenge of England, Newgrange of Ire- land, and the relatively omnipresent passage graves found throughout Western Europe are both well known and well documented in terms of their larger significance as ritual and cosmological markers on a socially constructed land- scape. However, such recognition and research is not pursued equally in all places where these features may be encountered. In the northeastern United States there are numerous stone features ranging from single rocks to complex above- and below ground structures that have puzzled the professional community for nearly 100 years. Beginning with the title location at Great Falls, or Turner Falls, this documentary addresses the significance of not only these stone features but also their position within the greater context of regional Native American and Euro- American narratives of place and identity. While not obvious in its description or opening, the documentary is presented in two parts that can be watched separately. The first segment focuses on the location of the titleFTurner Falls, MassachusettsFand the collaborative work of the Narragansett tribe with the town in creating a dialogue and opportunity to further efforts at documenting and preserving tribal history and heritage in the region. However, one of the key individuals in this segment, Doug Harris of the Narragansett Tribal Historic Preservation Of- fice, provides the critical observation that a dialogue begins with ‘‘sweet words’’ but only succeeds if there are ‘‘strong deeds’’ to support them. In this case, despite a promising beginning with a reconciliation ceremony re- quested by the town’s people in 2004, subsequent events occur that challenge the Narragansett’s efforts to protect a possible ancestral ritual site next to the town’s airport. The remainder of the first part of the documentary follows the story of the discovery, partial destruction, and eventual success at preservation of this site. The site’s specific nature provides the context for the documentary’s second part, which follows the historical controversy regarding certain natural and constructed stone features in the northeastern United States. As pre- sented, professional archaeologists have generally tended to dismiss an indigenous antiquity of these features, at- tributing them to Europeans and later Americans as post- contact constructions. While some of these features could be argued as such, the number, variety, and certain key aspects challenge this dominant narrative. Using several lines of evidence presented in both segments, Timreck, who is also the editor and writer, provides a weave of indigenous history, ethnohistory, oral history, and ethno- astronomy that not only supports an indigenous origi- nation of these places, but also describes a ceremonial landscape with considerable antiquity and complexity. There are a variety of themes underlying this film, but the central issue is that of competing historical narratives. In studies on Native American history, ethnohistory, ar- chaeology, and anthropology the issue of an American master narrative that has selectively defined Native Ameri- cans is well studied in both the research literature and other documentaries. Timreck uses two examples of equivalent historical controversies, that of the moundbuilders and the lost red paint people, demonstrating how the master narra- tive was historically defined in these cases by European and American perceptions of what constituted ‘‘civilization.’’ This narrative separates such complex technological and social achievements from the ‘‘primitive’’ Native American peoples of these regions and asserts, in some fashion, a European origin instead. Timreck challenges this narra- tive, by giving voice to subaltern narratives that include those of the Narragansett Indians, marginalized researchers, and historical observations. These serve to empower what he asserts are sophisticated indigenous knowledges of history, landscape, and astronomy. 114 VISUAL ANTHROPOLOGY REVIEW Volume 27 Number 1 Spring 2011