The series begins with works that accentuate formal devices, parody official tropes, and mildly offer unexpected information about the subject. We can see these elements in the unblinking eye of Maxie Cohen's Anger, a documentary that seems to gloat over its power to expose. Cohen's subjects are a group of frustrated New Yorkers, each with a seething story of anger to tell. There are failed artists, a self-professed murderer, a sadist and a heart-wrenching transsexual. The documentary technique is cold-blooded, leering with objectivity, yet, obviously, lusting after some good, showy emotion. In the submerged exhibitionism of Suburban Submission, Aron Ranen turns a motherly dominatrix into a delightfully banal subject. A mocking but friendly camera captures the housewife cum knee-booted toughie, first in the confines of her "rec" room, then on the streets of a trim suburb. Ranen's sympathetic bent takes the objective sting out of his whip-wielding celebrity while he toys with the syntax of network news. Timid men get emotionally revved up for Stuart McGowan's What Are You? Chickenshit?, showing a side of themselves that may never have existed before. Confounding our first impressions, McGowan has his interviewees assault the camera before divulging moments of cowardice from their past. In Roberta Hammond's Dick Talk, a controversial topic is kept at bay by denying the viewer direct identification with the confessors. In an ersatz coffee klatch, several women discuss their first sexual encounters. While the women are candid, the prudish camera shies away from the gathered faces. We are left with intimate knowledge of something just beyond the frame's edge. Steve Seid