Featuring the premiere of Oh, Rapunzel Artist in Person, with Special Presentation by Professor Kathleen Woodward Mortal hauntings and uncanny obsessions find residence in the dark corners of the fairy tale. In the best of these tales, we experience the primal recognition that our own fears lurk in an equally dim corner. Joining whimsy and the macabre in her videoworks, Cecelia Condit mines similar anxieties, shaping them into stories about charmed women who delve into their dread of aging and mortality. Condit revises the classic fairy tale model, fusing its subversive possibilities with dreamy narratives and sung dialogue. In Not a Jealous Bone (1987, 11 mins), an eighty-two-year-old woman must confront the specter of death after the loss of her mother. In the midst of this distress, she discovers a bone that promises not youth, but eternal life. When a younger woman learns of this magic bone, a struggle ensues for its possession. In her newest work, Oh, Rapunzel (1996, 35 mins), Condit's eighty-year-old mother plays a withdrawn woman who is a prisoner within her own home. Here, old age is seen as a mark, the symbol of a lifetime's worth of failings. The story, told by several generations of women, ultimately liberates the old woman who keeps her locks under key. By breaking free of the tower, Oh, Rapunzel overcomes the legacy of the past.-Steve Seid Preceded by: Possibly in Michigan (Condit, 1983). Two women with a liking for "violence and perfume" stalk their male persecutor in this irreverent fairy tale set in suburbia. (11:40 mins) Following the screening, Kathleen Woodward, Director of the Center for Twentieth-Century Studies at the University of Wisconsin, Milwaukee, will informally discuss issues of aging in Condit's works.