Bruce Conner made A Movie (1958, 12 mins, B&W) and no one could see movies in the same way again. It must have been satisfying to find out that so much of what appeared different was the same, that beneath the surface of those captivating Hollywood stories lurked the same fascination with The End, the same desire for a kiss to reseal the status quo. It was no longer possible to be an innocent viewer (of TV, the movies, our lives); meaning, whether spiritual, political, or schematic, was found in the exposure of the conventions and codes of image-making, revealing the wizard behind the screen-or better yet, the existence of the screen. George Kuchar's Leisure (1966, 10 mins, B&W) stars himself, the TV, a doll, and as always, the language of Hollywood-Kuchar style. Saul Levine's Tear/Or (1966-67, 3.5 mins, Silent, Color); Jud Yalkut's Videotape Study #3 (1967-69, 4 mins, B&W); and Ken Jacobs's Perfect Film (1965/86, 22 mins, B&W) examine television, manipulating the image within the box to reveal its manipulation of the viewer. Hollis Frampton's Lecture, which begins, "As long as we're going to talk about films, we might as well do it in the dark," was presented at Hunter College in 1968 and will be recreated tonight (c. 25 mins).-Kathy Geritz