3
Film Diary/Diary Film: Practice and Product in Power Misses (New York: Verso, 1996), p. 130. Since my focus is limited in this essay to the most recent diary installment, for an overview of Mekas’s sweeping project and its aesthetic implications, see James’s exemplary essay and Sitney’s commentary in Visionary Film. I am indebted to both writers for the analytical framework I adopt here.