Tonight's program features seminal examples of graphic cinema discussed in Chapters 8 and 9. Harry Smith, a hermeticist, painter, iconologist, musicologist, anthropologist, and linguist, is represented with a hand-drawn, batiked geometric abstraction, No. 3 (1949, 3.5 mins, Color, Permission Anthology Film Archives), followed by No. 11 (Mirror Animations, 1962/1976, 10.5 mins, Color, Film-makers Cooperative), which draws analogies between Tarot cards, cabalistic symbolism, and Buddhist mandalas, among other emblems. Jordan Belson's rarely seen, exquisite early films are the epitome of the transcendental-film as an instrument of discovery. For Sitney, Allures (1961, 8 mins, PFA Collection) is an object of meditation, while Samadhi (1967, 5 mins, PFA Collection) uses mandalas and cosmological imagery to represent the meditative quest. Robert Breer's elaborate single-frame films, including high-speed animations of collages and objects in Recreation (1956, 1.5 mins, Canyon Cinema), and animation and photography in the autobiographical Fist Fight (1964, 11 mins, Canyon Cinema), are contrasted with Peter Kubelka's intricate articulation of the individual frame in such films as Our Trip to Africa (Unsere Afrikareise, 1961–1966, 12.5 mins, Color, Canyon Cinema). After an intermission, we represent long mythic films, discussed in Chapter 7, with Stan Brakhage's intricately edited critique of the Vietnam War, 23rd Psalm Branch, Part 1 (1966/1978, 44 mins @ 18fps, Color, Silent, Canyon Cinema).