“The program begins with a sizzling performance in Gunvor Nelson's Take Off (1972). ‘A thoroughly professional stripper goes through her paces, bares her body, and then astonishingly and literally transcends it...while (it) makes a forceful political statement on the image of women and the true meaning of stripping, the ending locates it firmly within the mainstream of joyous humanism and optimism' (B. Ruby Rich). Dorothy Wiley's Miss Jesus Fries on Grill (1973) is an utterly mysterious evocation of life, pain, love and death wrapped in tenderly unsentimental concrete images and poetic form. Another animation film from a young local filmmaker is Karen Barbour's Untitled Animation (1980) which evidences ‘her first love, herd management...one feels gathered from one's own sensibility and transported to a different place - a pasture in which we are allowed to graze from the wild grass of our conditioning.' In Saving the Proof, Karen Holmes reveals the possibilities of slowly evolving, meditative rhythms of transformation achieved through the technique of optical printing. My Name Is Oona (1970) (Gunvor Nelson) ‘captures in haunting, intensely lyrical images, the fragments of the coming to consciousness of a child girl. Throughout the film, the girl, compulsively and as if in awe, repeats her name, until it becomes a magic incantation of self-realization' (Amos Vogel, ‘Film as Subversive Art'). J.A.C.L.W. & S. (Part 1, 1979) by Jac White: ‘The giraffes and I seemed destined to meet. Their long, purple tongues, sensual grace and meditative pace still captivate me.' Elasticity (1976) by Chick Strand: ‘Impressionistic surrealism in 3 acts. Amnesia is not knowing who you are and wanting desperately to know. I call this the White Night. Euphoria is not knowing who you are and not caring. This is the Dream of Meditation. Ecstasy is knowing exactly who you are and still not caring. I call this memory of the future.'” --Sandra Davis