These films broadly combine analysis of the structuring of perception with an exploration of film’s material components: time, light, space and celluloid. Screening will be the intellectually paradoxical Hapax Legomena II: Poetic Justice by Hollis Frampton, where the themes of sexuality and infidelity are “projected” in narrative sequence as a script with the voice revealing the story; Straight and Narrow by Beverly Grant Conrad and Tony Conrad which expands and extends the flicker phenomena to attack our visual sensibilities and optic nerves; Annabel Nicolson’s Frames, created in a contact printer with 8mm color film that had deteriorated in a projection event; 24 Frames Per Second by Takahiko Iimura who reduces the examination of time and space to the alternation of black and clear leader with a series of fractions; Peter Gidal’s Clouds which uses obsessive repetition as materialist practice not psychoanalytical indulgence; 1933 by Joyce Wieland which reworks found footage, camera outtakes and film ends shot in NY and Rate of Change by Bill Brand a film with no original, no frames, only slow continuously shifting colors created in the film lab. (Caroline Savage)

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