By the 1990s, many Bay Area filmmakers were products of Bay Area film programs, with some, such as Sandra Davis, Jay Rosenblatt, and Greta Snider, going on to teach. Dominic Angerame continued to run Canyon Cinema, a distributor of experimental cinema; Scott Stark founded Flicker, which documents alternative cinema online; and Jenni Olson programmed for the local lesbian and gay film festival. These were artists who spent a lot of time viewing and thinking about cinema, which nurtured an interest in the particularities of the medium. For Greta Snider and the collaborative group silt, this included hand processing their film. Scott Stark and Jay Rosenblatt found new meaning in footage they found or collected while Kerry Laitala recontextualized antique medical slides. Cauleen Smith fabricated a personal history in her collage film, and Jenni Olson contrasted a recollection of a one-night stand with San Francisco's urban landscape. In their films, Angerame, Davis, and Timoleon Wilkins each beautifully evoked a specific place.

Short of Breath (Jay Rosenblatt, 1990, 10 mins, Color). Chronicles of a Lying Spirit (by Kelly Gabron) (Cauleen Smith, 1991–, 5 mins, Color). Au Sud (To the South, Sandra Davis, 1991-99, 6.5 mins, From artist). Premonition (Dominic Angerame, 1995, 10 mins, B&W). Shadow of the Son (silt, 1995, 7 mins, Color, Super 8mm, From the artists). Flight (Greta Snider, 1996, 5 mins, Silent, B&W). Secure the Shadow (Kerry Laitala, 1997, 9 mins, Color, From the artist). Lake of the Spirits (Timoleon Wilkins, 1998, 7 mins, Color). Blue Diary (Jenni Olson, 1997, 6 mins, Color, PFA print). Noema (Scott Stark, 1998, 10 mins, Color).