Curated by Claudia Preschl "The female body and the attributes associated with females stand at the forefront of Linda Christanell's work (Aline Carola, 1990, Tinted, 7 mins). She has always let herself be fascinated by glittering jewelery and flowing lace, by high-heeled shoes, hairclips and hairpins. Her work often resembles a walk along a knife-edge, between traditionalism and its extreme form-irony. If Christanell referred explicitly to feminist contents, it is no longer a theme amongt young female filmmakers...The discussion on the objectification of women and the utilization of the female body has changed to a different one, often with a witty and biting content. Renate Kordon uses the body, among other things, wittily-by painting it and thus making it grotesque and alienated. In connection with her film Buntes blut (Colorful Blood, 1985, 8.5 mins) she speaks of "Engraving the law on the convict's back, of make-up as the daily correctional body cosmetic..." Angela Hans Scheirl and Dietmar Schipek (The Abbotess and the Flying Bone, 1989, B&W, 18 mins) present the whole question of gender in a new way. They reject the single gender allocation. It is far more a matter of various shapings and of transformation as the driving force: 'We give our comic heroes several lives and let them appear and disappear. Animal-human, woman-man, culprit-victim.'"-From an essay by Claudia Preschl Plus: The Man With Modern Nerves (Der Mensch mit den modernen Nerven) by Bady Minck, Stefan Stratil (1988, 7 mins, B&W). Inter-Images by Dora Maurer (1989-90, 17 mins, Color/B&W). The Boorish Bunch (Das ungelhobelte Pack) by Nana Swiczinsky (1991, 2 mins). House (Haus) by Sabine Groschup (1989, 3 mins). All the Space (All das All) by Sabine Groschup (1989, 3 mins). That's It by Ute Eisenberg ( 1 min, B&W) A second program in the tour will be presented at the S.F. Cinematheque, June 10.