"While Western audiences have recently gained access recently to Soviet feature films and documentaries that were previously banned or excluded from export, very little is known of the existence, not to mention the output, of independent media artists from the USSR. A small but growing community has, in fact, existed since the pre-glasnost days of the early 1980s. The touring exhibition 'Red Fish in America', represents the first concerted attempt to introduce U.S. audiences to a cross-section of the best short films and videotapes produced outside the boundaries of official funding and control."--Marie Cieri, Co-Curator, "Red Fish in America" Igor Aleinikov, co-curator of the tour, and his brother Gleb recently toured the United States with "Red Fish in America." Tonight we present a selection of films from the tour, highlighting their own short films. Igor Aleinikov describes parallel cinema as "Cinema which is created outside the system of state cinematic production. It arose at the beginning of the 1980s as a counter-balance to the state monopoly on the means of cinematic production. At the beginning of the 1980s, several radically inclined young artists in Moscow and Lenigrad began to work in l6mm. . . Until 1987 their films could only be seen in a few Moscow and Lenigrad apartments and basements, and evidently for this reason some people attempted to bring into use the term 'underground'. However, the term did not take root since there was nothing criminal in the films. Actually there was something criminal in the fact that the parallel cinema directors brazenly shot their l6mm films using disgraceful amateur equipment, or using none, and still dared to include their works in the sphere of artistic creation. A scandal was brewing..." Tonight we present a selection of films from the tour, highlighting the Aleinkovs' own short films. Igor Aleinikov describes parallel cinema as "Cinema which is created outside the system of state cinematic production. It arose at the beginning of the 1980s as a counter-balance to the state monopoly on the means of cinematic production. At the beginning of the 1980s, several radically inclined young artists in Moscow and Lenigrad began to work in l6mm... Until 1987 their films could only be seen in a few Moscow and Lenigrad apartments and basements, and evidently for this reason some people attempted to bring into use the term `underground'. However, the term did not take root since there was nothing criminal in the films. Actually there was something criminal in the fact that the parallel cinema directors brazenly shot their l6mm films using disgraceful amateur equipment, or using none, and still dared to include their works in the sphere of artistic creation. A scandal was brewing..." Films by Igor and Gleb Aleinikov: Revolutionary Etude, in collaboration with Georgij Ostretsov, Evgenij Kondratiev (l987, 7:40 mins, In Russian with English synopsis, B&W, l6mm). Waiting for de Bil (1989, 23 mins, In Russian with English voice over, B&W, 16mm). Tractors (1987, 12:30 mins, In Russian with English voice over, B&W, 16mm). War and Peace by Vladimir Zakharov (1989, 9:30 mins, B&W, 16mm). Spring by Evgenij Yufit, Andrej Myortvyj (l987, 11:30 mins, l6mm shown on video). Dreams by Evgenij Kondratiev (l988, 11:10 mins, B&W, l6mm). Supporter of Olf by Inal Savchenkov, Evgenij Kondratiev, K. Mitenev, A. Ovchinnikov (l987, 9 mins, l6mm).