For Joe Gibbons, his super-8 camera is essential for his "research"-the gathering and recording of observations of himself and others, with and without consent. In his hands, the camera is not a neutral device-he is too aware of the relationship between camera and subject, and concurrently between the completed film and audience; rather it is a means of actively exploring the unknown, the forbidden. It seems to trigger confessionals and confidences, and play with our desire to see and know; it is both analyst and analysand. In the primarily autobiographical Living in This World, Gibbons reveals his daily life in a monolog/talking cure as he attempts to find his way from marginality to normality. Both filmmaker and subject, he sets up his unobtrusive super-8 camera in his home, at work and at his therapist's and, while eating cereal, sitting at his desk, or waiting for an appointment, wryly muses on the ups and downs of "living in this world." If we feel we are eavesdropping on the construction of a (transforming) self, in Spying we are placed in the position of dodging detection as we peek at Gibbons' neighbors gardening, sunbathing, and of course, watching others, their large picture windows suggesting so many movie screens. Crossing and blurring the borders between fact and fiction, public and private moments, responsible and impulsive actions, Joe Gibbons' research continues. Kathy Geritz