Replay (U.S. Premiere; Margaret Haselgrove, Australia, 1998, 6 mins, B&W, 16mm) is a cinematic etude informed by questions of sexual identity, and referencing the aesthetics of masochism through repetition, fragmentation, and allusive, grainy images. The film was created as one continuous optical effect through frame-by-frame mastering of the film negative. Using woodcut animation and live-action photography The Last the Rest (Johanna Dery, U.S., 2000, 5 mins, B&W, 16mm) tells the visually compelling and eerie story of a wingless bird. The found and fragmented footage that makes up award-winning filmmaker Sandra Gibson's Edgeways (U.S., 1999, 5 mins, Color, 16mm) strikes a provocative relationship between the abstract and concrete. Maia Carpenter's silent, contemplative, hand-painted and optically printed film The Shape of the Gaze (U.S., 2000, 7 mins, Silent, Color, 16mm) objectifies its subjects as the subjects objectify the filmmaker. Tending Echo Park (Monica Gazzo, U.S., 1999, 16 mins, Color, 16mm) uses lyrically manipulated images combined with writings by Gertrude Stein, Virginia Woolf, and Antonin Artaud to create a poetic film. In Naomi Uman's Removed (1999, 7 mins, Color, 16mm) the filmmaker erases with the use of nail polish, bleach, and a magnifying glass the image of a woman in a seventies porno flick.*