One of the first films was Feeding the Baby, in 1895, followed not long after by the feeding of adults in classic trick films like Scullions' Dream and The Dream of a Rarebit Fiend. The latters' surrealistic culinary visions find a contemporary realization in Czech animator Jan Svankmajer's Food, three darkly humorous vignettes depicting eating as an aggressive act with extreme implications. Fluxus artist Robert Watts follows another eating path with his x-ray footage in Trace. Experimental filmmaker Michael Snow's Breakfast is literally displaced by a slow zoom shot ("serving as a grand metaphor for indigestion"), while Vivian Ostrovsky's fast-paced Eat appears to be edited to the rhythm of the chew. Doggie Diner and the Return of Doggie Diner is Lenny Lipton's minimalist homage to a now-defunct local eatery. At home with Excited Turkeys, Thanksgiving dinner is more than a family affair. Using an educational format, Pat O'Neill explores the meaning of a symbolism-laden fruit in The Last of the Persimmons.-Kathy Geritz Scullions' Dream (Un Rêve de marmiton, Pathé Frères, France, 1907, 8 mins @18fps, Silent, B&W, From MOMA). Breakfast (Michael Snow, Canada, 1972-76, 15 mins, Color). Eat (Vivian Ostrovsky, France, 1988, 15 mins, Color). The Last of the Persimmons (Pat O'Neill, U.S., 1972, 6 mins, Color). Trace #22 (Robert Watts, U.S., 1960s, 1 min, Silent, B&W, Thanks to the Gilbert and Lila Silverman Fluxus Collection, Detroit). Excited Turkeys (Willard Maas, U.S., 1969, 12 mins, Color, From Film-Makers' Cooperative). Dream of a Rarebit Fiend (Edwin S. Porter, U.S., 1906, 7 mins, Silent, B&W, From MOMA). Doggie Diner and the Return of Doggie Diner (Lenny Lipton, U.S., 1969, 7 mins, Color). Feeding the Baby (Repas de bébe, Lumière Brothers, France, 1895, 1 min, Silent, B&W, 35mm, PFA Collection). Food (Jan Svankmajer, Czechoslovakia/U.K., 1992, 14 mins, Color, 35mm, From Zeitgeist Films).