"Scott MacDonald, in his article, 'Text As Image' (Afterimage, March 1986), analyzes avant-garde and experimental films which use text as all or part of their imagery. The majority of films in our series are discussed or referenced in his piece; we would like to thank him for his assistance. Other than sub- or intertitled films, we tend to distinguish between the acts of viewing and reading, and to perceive filmic and written representations as distinct methods of communication. In the pieces in 'Text As Image,' the viewer becomes a reader, and as text and image are combined or as text is used as the only image, the impact of language on perception is made implicit. Texts are used to both restrict and multiply meaning, at times clarifying, instructing, interpreting, or are used ambiguously, poetically. Found texts-subtitled films, newspaper clippings or words and letters filmed in the environment-emphasize the cultural and social aspects of signification, while diaries, letters, poems and dreams are explored as personal modes of expression. Letters of the alphabet, phonetic fragments, words and phrases are used to create and construct meaning, and conversely to deconstruct this process and, paradoxically, the cinematic experience. Not only the content, but the text itself is used expressively as visual imagery, in varying sizes, moving at different paces, scratched, typed or computer generated. "In many of his films, Hollis Frampton explored relationships between text and image, particularly in Poetic Justice, in which the entire film consists of written pages of a scenario. Gloria! combines text and image to create a dialogue between the 19th and 20th Centuries, Frampton's grandmother and himself, early cinema and videographic modes, memory and experience. In Zorns Lemma there is no explicit text, but rather a dispersed text, words either created or 'found' by Frampton in the environment. The alphabet is used as a method of structuring the majority of the film, and to explore the relationship between word and image." Kathy Geritz