The camera has always been used to documentparticular locations, but the result usually offers only a stylized andlimited experience of the nuances and feeling of place. The films inthis program conceive new formal strategies to express the character andperception of private and open spaces. Kren's Asyl takes a bucoliccountry scene and breaks the frame into several pieces, each recorded indifferent seasons but juxtaposed so that they appear to be happeningsimultaneously. The resulting composite creates a counterpoint that bothreflects and departs from perceived reality. Sunset Boulevard byKorschil offers a view into the isolated world of commuters as observedthrough countless passing car cubicles; Ponger's Semiotic Ghosts knits atapestry of symbolic images from sources found naturally in differentlocations of the world; General Motors by Hiebler/Ertl and MotionPicture by Tscherkassky both explore the intoxicating flavors of oldmovie images, one in terms of aesthetic renewal, the other as culturalcritique. Scheugl's The Place of Time is a profound meditation on thedeceptively controlling closed form of cinematic sound and image.-SteveAnker General Motors (Sabine Hiebler, GerhardErtl, 1993, 15 mins, B&W, 35mm). Motion Picture (La Sortie desOuvriers de l'Usine Lumière à Lyon) (Peter Tscherkassky,1984, 3 mins, Silent, B&W, 16mm). 31/75: Asylum (31/75: Asyl) (KurtKren, 1975, 9 mins, Silent, Color, 16mm). Sunset Boulevard (ThomasKorschil, 1991, 8 mins, Silent, Color, 16mm). Semiotic Ghosts (LislPonger, 1990/91, 18 mins, Color, 16mm). The Place of Time (Der Ort derZeit) (Hans Scheugl, 1985, 40 mins, Color, 16mm).