In Person: Julie Murray, Jay Rosenblatt, Greta Snider Presented with support from the Theresa Hak Kyung Cha Endowment. A completed film has been likened to a body, made of different parts that function as a whole. The filmmakers represented in tonight's program construct their work from both found and original footage, but in either case, their work draws attention to the material surface (or skin) of the film. The "parts" are often reworked-blown up or rephotographed to expose the grain or the patterns of color, or overexposed to produce extreme blacks and whites. The resulting images are unstable, subjective, even frightening. The "whole" created from these parts is less a tangible, physical body than one in which the raw psyche is exposed. Recurring images in Julie Murray's recent super-8 films suggest an insistent-at times aggressive, at times poetic-questioning of meaning. Like the train that couples and uncouples, connections are made and broken; images are revived, given fresh vigor (artificially respirated). Her collage of sounds and images creates a dance of gestures, a dance outside language, but resonating from deep within. Jay Rosenblatt's films highlight moments of confusion, when one's actions seem mysterious, inexplicable, to oneself or to the other sex. Whether using found footage or shadow figures, he suggests the unease of the unconscious and the cost of looking behind closed doors. Greta Snider's films combine image with narration, narration with titles, silence with sound, to create at times contrapuntal interpretations of events. Her concern is less with the multiplicity of views than with the isolation of experience and the difficulty of communication, whether between individuals or discourses. --Kathy Geritz