of the shaman within the Yanomamo Indian culture, as well as the close relationship shamanism shares with politics within the society. The acclaimed film was the recipient of the American Film Festival Blue Ribbon. Climbing the Peach Palm (1974) New Tribes Mission (1974) Yanomamo, a one-hour special for Japanese television (1974) The Ax Fight (1975) By anthropologist and filmmaker Tim Asch, his wife Patsy Asch, and anthropologist Napoleon Chagnon An ethnographic film about a conflict in a Yanomami village called Mishimishimabowei-teri, in southern Venezuela. It is best known as an iconic and idiosyncratic ethnographic film about the Yanomamo and is frequently shown in classroom settings. The film has four parts and operates on a number of analytical levels. It opens with a map of the region where the village is located and then proceeds to about ten minutes of virtually unedited film footage of combat among multiple participants armed with clubs, machetes, and axes. This represents the entirety of the film shot of the fight, which lasted about half an hour. Many of the shots and accompanying audio reflect the fact that the Westerners were taken by surprise and that they remained in ignorance about the cause of the fight until some time later. The fight, which occurred on the second day of Asch and Chagnon's arrival to the village on February 28, 1971, is presented to the viewer as it was experienced by the anthropologist and filmmaker, as chaotic and unstructured violence. The second part of the Ax Fight, however, replays the events in slow motion while Chagnon explains who the combatants are and describes their relationship to one another. Although they initially believe the fight occurred because of an incestuous relationship, the anthropologists learn that this is not the case and that the fight is the latest manifestation of long standing hostility between a faction that lives in the village and a faction that is among a party of visitors. The fight is explained as "a ritualized contest, not a brawl" in which combatants make a relatively orderly progression from less lethal weapons to more lethal ones and people choose sides in the dispute on the basis of kinship obligations and shared histories. Eventually, elders (who tend to have conflicting loyalties) step in to help end the conflict. The third part of the film uses a number of kinship diagrams to further elaborate on these family bonds and