In Yervant Gianikian and Angela Ricci Lucchi's Transparencies (1998, 6 mins, Color, In Italian with live translation, Video), Gianikian unfurls fragile, crumbling - yet beautiful - 35mm film material from a reel as he comments on its condition. Jeanne Liotta's Maria Movie (2001, 7.5 mins, B&W, 16mm, Film-makers' Cooperative) is a haunting paean to disappearing cinema. It is comprised of both early footage and the artist's own images of now-destroyed Times Square theaters. Luis Recoder's minimal Space (2001, 10 mins, Color, 16mm projected as 'Scope) documents the wear and tear on usually unseen film leader. In his poignant trilogy The Aperture of Ghostings (2001, 14 mins, Color, 16mm), Lewis Klahr uses what he calls a "hieroglyphic montage style" to animate images from photographic contact sheets unearthed in an East Village thrift store. Another Worldy (1999, 24 mins, B&W, Beta SP), Leslie Thornton's homage to 1940s chorus-line dance numbers, also intermixes ethnographic dance footage and early Edison studies of movement and dance. Harun Farocki draws on prison surveillance footage in I Thought I Was Seeing Convicts (2000, 28 mins, B&W, Beta SP, From MoMA), a critique of the increased use of such technological means of control.