The idea of documentary cinema is closely linked to photography's ability to represent the world. But what about those moments that aren't available to the camera, for example, interior thoughts, unwitnessed incidents, or even events prior to the invention of cinema? As early as Winsor McCay's rendition of The Sinking of the Lusitania filmmakers have turned to animation as a way to create documentaries or docu-mations. Some animators integrate historical documents, photos, letters, and archival footage with their own artistic renditions. For some, interviews or recorded memories are the sign of authenticity. Other artists bring cultural memory-myths, legends, and totems-to life. Focusing on recent work, we explore the diverse range of approaches and styles in two programs, tonight and Sunday, November 19.Jim Trainor's fascinating and disturbing felt-tip drawn The Fetishist (1997, 38 mins) chronicles in twisted detail the perverse psychology of a serial killer. The affecting pencil drawings of Ellie Lee's Repetition Compulsion (1997, 7 mins) accompany homeless women's stories. Faith Hubley narrates the story of her life with ornate, joyful paintings in My Universe Inside Out (1996, 25 mins). A Is for Autism (Tim Webb, 1992, 12 mins) is a collaboration in which people with autism talk about their experiences and contribute animation. Using a variety of styles, Silence (1998, 10 mins), by Orly Yadin and Sylvie Bringas, reveals the story of a child who survived the concentration camps but then was not allowed to talk of her experience.-Kathy Geritz