Jordan Belson's work in general has moved out of the public eye, in large measure because Belson himself withdrew his films from circulation in 1978. More than any other film in the New Cinema programs (in the late 1960s), Allures sang the excitement of the future, and of the potential of what Gene Youngblood would call "expanded cinema," while simultaneously enticing viewers in the direction of the long history of Eastern spiritual thought. Belson's 1960s films were instantly identifiable, and remain memorable, because of certain characteristic visual gestures that, in a wide range of particular films, provide metaphors for a cinematically distinctive sense of human existence. That the imagery suggests outer space one moment and atomic particles the next is a way of suggesting that, basically, the macrocosmic and the microcosmic are one and that the means for understanding this unity is the "inner eye" of the spirit.-Scott MacDonald