Deconstruction is a misnomer. It's not the “de” that delivers, but the “re,” in reconstruction. By reassembling cinematic passages with a limitless array of strategies, unexpected tropes, economies, and mannerisms are teased out. In the vertiginous Horror Chase (2002, Loop), the McCoys did away with the artifact, restaging the chase from Evil Dead II to reveal the endless claustrophobia of fear. In a series of short works-Climaxes, 1966-2001 (2002, 1:12 mins), come ons (2000, 1:25 mins), gogogo (2001, 45 secs)-Joe Sola catalogs trite conventions, such as the panicky statements “come on, come on” and “go, go, go,” to accentuate the ad nauseam of mainstream cinema. Scott Stark's Noema (1998, 10:30 mins) is a pulsing puzzle, piecing together de-eroticized porno snippets in a celebration of the awkward moment. Leah Gilliam's Apeshit (1999, 6:23 mins) commandeers an obscure object, an 8mm trailer for Battle for the Planet of the Apes, and processes the footage to underscore the ideological bias. Keith Sanborn's Semi-private sub-Hegelian Panty Fantasy (with sound) (2001, 3:15 mins) relegates purloined images to a mini-essay on cinema's ability to raise the dead. Les LeVeque masterfully denatures classic cinema, using virtuosic editing schemes that reframe, condense, and destabilize their familiar narratives. In his Reconstruction Trilogy-Backwards Birth of a Nation (2000, 13 mins), Stutter The Searchers (2001, 12:15 mins), Red Green Blue Gone With the Wind (2001, 11:45 mins)-giants of American cinema are turned into percussive and rambunctious specters where meaning becomes a ghostly vestment.