▪ Abstract  Information and communication technologies based on the Internet have enabled the emergence of new sorts of communities and communicative practices—phenomena worthy of the attention of anthropological researchers. Despite early assessments of the revolutionary nature of the Internet and the enormous transformations it would bring about, the changes have been less dramatic and more embedded in existing practices and power relations of everyday life. This review explores researchers' questions, approaches, and insights within anthropology and some relevant related fields, and it seeks to identify promising new directions for study. The general conclusion is that the technologies comprising the Internet, and all the text and media that exist within it, are in themselves cultural products. Anthropology is thus well suited to the further investigation of these new, and not so new, phenomena.

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In this article we combine a concern with speech play and language ideologies to investigate contemporary Navajo terminology development. This article presents some recent cases of lexical elaboration in context, and argues that neologisms in Navajo are often fleeting, shifting, or humorous practices that reflect and recreate individual agency, intimate grammars, and local language ideologies. They also reflect an unexpected continuity in what is considered to be a context of rapid language shift. Such practices are one form of resistance to English and should be seen as a sociocultural, rather than purely referential, phenomenon.

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In the summer of 1966, seven Navajo community members from Pine Springs, Arizona, were the subjects of one of the most provocative experiments in cognitive and visual anthropology yet completed, the Navajo Film Project, resulting in Sol Worth and John Adair's seminal work Through Navajo Eyes, as well as seven short films produced by Navajo filmmakers that garnered worldwide attention in their own right. In 2011, the films were repaired and returned to the Navajo Nation for public screenings, the first step in a process of repatriation and resignification that mirrors the repatriation of other visual media to Navajo and indigenous communities. The return of the films offers a unique opportunity to reexamine the meanings of the films and the project itself, reframing the discussion around issues of visual sovereignty, community reengagements, and “reclaiming” Diné/Navajo histories.