Works by Joyce Wieland and Hollis Frampton Over the next few months we will present films by artists who have created serial works. Though it is a creative method more often acknowledged in relation to poetry, music and painting, many filmmakers have structured films as permutations of a thematic or stylistic idea, or as parts which gain meaning when unified. Some develop the parameters of a series within one film, others construct a series over years from many films. Many of the resulting films may be aligned with structuralism, others with new narrative, and more recent works as "never-ending-stories"; all require that we think beyond the dichotomy of form and content. Michael Snow stated in relation to Joyce Wieland's 1933 (1967, 4 mins), "You find out, if you didn't already know, how naming tints pure vision." Her film Catfood (1967-68, 13 mins) was described by Hollis Frampton: "A cat eats its methodical way through a polymorphous fish. The projector devours the ribbon of a film at the same rate methodically....The fish...and the miraculous flesh of the film itself, are resurrected...to be devoured again." Hollis Frampton's own Zorns Lemma (1970, 60 mins) takes its title from a nineteenth-century mathematical axiom that "every partially ordered set contains a maximal fully ordered subset." Frampton draws on the alphabet, words found in the environment, and a text on light and form to construct his sets.-Kathy Geritz