In the sixties, many avant-garde filmmakers responded to the death impulses prevalent in American culture. "Society thrives on violence, destruction, and death no matter how hard we try to hide it with immaculately clean offices, the worship of modern science or the creation of instant martyrs. From the bullfight arena to the nuclear arena we clamor for the spectacle of destruction" (David Moser, Film Quarterly). "That the commercial cinema either avoids death or romanticizes it is...not surprising. The insufferable sentimentality and the manageable, antiseptic way in which people die in commercial films (Love Story for example) once again reveals this kind of cinema to be an important purveyor of Establishment values. For the smooth functioning of technological society requires the excommunication of all disruptive elements (criminals, madmen, corpses) in the quickest, most secretive manner possible" (Amos Vogel, Film as a Subversive Art). Hurry! Hurry! (Marie Menken, 1957, 3 mins). Scorpio Rising (Kenneth Anger, 1963, 29 mins). Report (Bruce Conner, 1963-67, 13 mins, B&W). Time of the Locust (Peter Gessner, 1968, 19 mins, B&W). The Act of Seeing with One's Own Eyes (Stan Brakhage, 1971, 32 mins, Silent).