Bad Film Histories is a vital work that unsettles the authority of the archive. Katherine Groo daringly takes readers to the margins of the film record, addressing the undertheorization of film history and offering a rigorous corrective. Taking ethnographic cinema as a crucial case study, Groo challenges standard ways of thinking and writing about film history and questions widespread assumptions about what film artifacts are and what makes them meaningful. Rather than filling holes, Groo endeavors to understand the imprecisions and absences that define film history and its archives. Bad Film Histories draws on numerous works of ethnographic cinema, from Edward S. Curtis\u2019s In the Land of the Head Hunters, to a Citro\u00ebn-sponsored \u201ccroisi\u00e8re\u201d across Africa, to the extensive archives of the Maison Lumi\u00e8re and the Mus\u00e9e Albert-Kahn, to dozens of expedition films from the 1910s and 1920s. The project is deeply grounded in poststructural approaches to history, and throughout Groo draws on these frameworks to offer innovative and accessible readings that explain ethnographic cinema\u2019s destabilizing energies.As Groo describes, ethnographic works are mostly untitled, unauthored, seemingly infinite in number, and largely unrestored even in their digital afterlives. Her examination of ethnographic cinema provides necessary new thought for both film scholars and those who are thrilled by cinema\u2019s boundless possibilities. In so doing, she boldly reexamines what early ethnographic cinema is and how these films produce meaning, challenging the foundations of film history and prevailing approaches to the archive.
