The 1980s was a period of rebirth for personal experimental cinema in the Bay Area, with many filmmakers carrying seminal artistic traditions into new territory. Subjective vision, celluloid materiality, irreverent spontaneity, found footage, formal exploration, and social critique were reclaimed and often combined, distinctively and expressively, into single films. This program includes the post-Brakhagian intimacy of Peter Herwitz's The Mysterious Barricades; the devil-may-care silliness of Rock Ross's Vespucciland: The Great and Free; Gunvor Nelson's witty conundrum, Field Study #2; and Mark Street's mesmerizing industrial film deconstruction, Winterwheat. It ranges from Charles Wright's ecstatic collage of image and sound spaces, Sorted Details, to the stinging critiques of homophobia in Jerry Tartaglia's Ecce Homo and the trauma of women giving birth in Janis Crystal Lipzin's Other Reckless Things. Also featured are Nina Fonoroff's devastating evocation of a mind divided against itself, Department of the Interior; Chuck Hudina's elegiac and beautiful street portrait, On the Corner; and Lynn Marie Kirby's brief but deeply resonant personal narrative, Across the Street.

The Mysterious Barricades (Peter Herwitz, 1987, 8 mins, Silent, Color, Super 8, From artist). Winterwheat (Mark Street, 1989, 8 mins, Color). Sorted Details (Charles Wright, 1980, 13 mins, Color). Vespucciland: The Great and Free (Rock Ross, 1982, 3 mins, Color/B&W, From artist). Field Study # 2 (Gunvor Nelson, 1988, 8 mins, Color). On The Corner (Chuck Hudina, 1983, 5 mins Silent, B&W). Across The Street (Lynn Marie Kirby, 1982, 3 mins, Color). Department of the Interior (Nina Fonoroff, 1986, 8.5 mins, B&W). Ecce Homo (Jerry Tartaglia, 1989, 7 mins B&W/Color, From artist). Other Reckless Things (Janis Crystal Lipzin, 1984, 20 mins, Color).