He started looking around for ways to participate and found a group of veterans and civilians in Killeen, Texas near the Fort Hood Army base who had begun supporting soldiers who were against the war or resisting the military or both.

"[1] He worked at the Oleo Strut GI Coffeehouse in Killeen and for the next two years found himself "in the heart of one of the most intense, exciting, and inspiring movements of the 1960s."

He helped resisting soldiers put out their own underground GI newspaper called Fatigue Press, organize demonstrations of over 1,000 GIs against the war and the military, and turn "the Oleo Strut into one of Texas's anti-war headquarters.

"[2][1] By the late 1980s Zeiger was living in Atlanta, Georgia where he started taking pictures of local theater productions in a style reminiscent of Max Waldman.

Over time he became interested in documentary photography and when a large influx of Mexican and Southeast Asian immigrants entered Atlanta, he developed relationships with and photographed their growing communities.

[5] Displaced in the New South is a 54-minute documentary exploring the complex collision between Asian and Hispanic immigrants moving into suburban neighborhoods near Atlanta.

"[9] In 1999, Zeiger returned to his roots and began work on his next project about his own alma mater, Fairfax High School in Los Angeles.

[2] Zeiger explained the transition since he graduated, "it had evolved from a white, middle class, primarily Jewish school with a reputation for sending lots of kids to the Ivy League (myself not included), into a wildly diverse, exciting campus with students from over thirty different countries and just about every walk of life".

"[11] Zeiger's next documentary, which premiered in August 2002 at the Museum of Television and Radio (now the Paley Center for Media) in Los Angeles, was Funny Old Guys.

It's about a group of writers and producers from TVs early days who gathered weekly at a Los Angeles tennis club to reminisce, crack jokes and tell stories.

It centers on the final months of Frank Tarloff, a formerly blacklisted Academy Award-winning writer, as he and his friends confront his imminent death.

[18] The Film Independent website reported that it "garnered rave reviews during its 80-city theatrical run, including 'Two Thumbs Up' from Ebert and Roeper".

so vividly evokes the rage, passion and provocation of the era it chronicles that it feels up-to-the-minute", and another reviewer warned the U.S. government at the time that this was a "film that threatens the war movement with every showing, the Bush administration should outlaw it from all theatres within fifty miles of an armed forces recruiting station.

Called a "riveting film" by the Washington Report on Middle East Affairs, it documents the transformation of U.S. soldiers from enthusiastic to disillusioned troops.

Influenced by real-life events in his own family, it tells the story of a father and teenage son whose lives are shattered by the death of their son/brother in an accident.

Shown at the Atlanta Film Festival, it was called an "expertly performed character piece" and praised for "the unblinking way it conveys familial loss and a renewed love between father and son that holds a ray of promise for their futures."

This is a deeply personal film telling the story of the harrowing sexual abuse of his teenage daughter at the hands of her high school boyfriend.

Her father wished he had not been able to make the film, "I would give anything for our daughter Leah to never have met that boy, for her to have had the idyllic teenage experience that dreams and myths tell us is out there.

The approximately 60,000 relocated native peoples suffered from exposure, disease, and starvation while en route to their new designated reserve, and as many as 16,000 died before reaching their destinations or shortly after.

The documentary quotes Andrew Jackson, who oversaw the initiation of the Trail of Tears on Native Americans: "They have neither the intelligence, the industry, the moral habits, nor the desire of improvement which are essential to any favorable change in their condition.

Established in the midst of another and a superior race, and without appreciating the causes of their inferiority or seeking to control them, they must necessarily yield to the force of circumstances and ere long disappear.

He quotes Army Specialist 5 Ronald L. Ridenhour, who wrote a letter in March 1969 to thirty members of Congress imploring them to investigate the massacre, as saying "this was an operation, not an aberration.

[34] For issue number 71 in this series, Zeiger examined the little known Easter Sunday, April 13, 1873, mass slaughter of Black people that took place in Colfax, Louisiana.