Linda Williams is Director of Film Studies at UC Berkeley, and the author of Hard Core: Power, Pleasure, and the "Frenzy of the Visible," the first book to deal with the history and form of pornographic film.In the last decade, a number of filmmakers have made works drawing on found pornographic images, charged footage which variously moves viewers to outrage or arousal. For many of the filmmakers, the act of re-presenting it is subversive, whether because the footage is crude and disturbing, or through their own probing of questions of gender, sexuality, economics, and representation. The material has been handled so that images are fragmented, doubled or quadrupled, chemically or optically altered, with results varying from a mandala of sexual energy in Sodom to a study in voyeurism in removed. Color of Love and Downs Are Feminine celebrate the lurid representations of sex, NOEMA and Bare Strip the awkward acting, limited mise-en-scène, and singular focus of the porn footage. While some explore what porn does and others what it doesn't, these works position pornography in the avant-garde, and raise the question, are they art, cultural criticism, or pornography? Or do they work to subvert these categories through their emphasis on complex visual pleasures?-Kathy Geritz