"In programming this series exploring the image of America presented in avant-garde films from the fifties and sixties, we found that many of the themes raised in the MADE IN U.S.A. exhibition crystalized in films of the seventies. We end our series by moving into the seventies with a program of films both by artists who began working in the fifties and sixties and by a new generation of filmmakers. Similarly to pop artists who reduced the visual content of their works to a single object, tonight's filmmakers simplify their content to explore the ambiguity implicit in even the most straightforward images. The ambiguity particular to the film image-it exists as a still image, but is perceived as a continuous moving image-is foregrounded in films which seem to be still, and still images which begin to move. Fundamental acts of communication-the naming of objects, the use of an agreed-upon code, the creation of a narrative-are revealed as complex, flexible rather than determined, dynamic rather than fixed. It is within this range of indeterminacy that communication opens up between filmmaker/film/viewer, and the possibility arises for the audience to participate in constructing multiple, varied meanings." Kathy Geritz Bleu Shut (Robert Nelson, 1970, 33 min, Color). Paul Revere (Richard Serra, Joan Jonas, Photography by John Knopp, 1971, 9 min). Pasadena Freeway Stills (Gary Beydler, 1974, 6 min, Silent, Color). Blues (Larry Gottheim, 1970, 8.5 min, Silent, Color). 8-1/2 x 11 (James Benning, 1974, 33 min, Color). Valse Triste (Bruce Conner, 1977, 5.5 min, Sepia). (Total running time: 95 mins, Prints from Canyon Cinema, Inc., Film-makers' Cooperative, University of Missouri Film Library, Castelli-Sonnabend Videotapes and Films, and PFA Collection)