Much of cinema is dependent upon the audience's willing suspension of disbelief-involvement with a narrative to the point that one doesn't notice minor inconsistencies and omissions. By contrast, many of the works in this program examine these forced invisibilities, precisely in order to release what cinema has repressed. And not surprisingly, the examined site is most often the family. Martin Arnold describes his Passage à L'Acte as a "symptom": his frame-by-frame analysis of a harmonious family meal reveals unacknowledged and severe dis-ease. In that film, and in the puppet world of Babel Town, children seek to flee their anxious surroundings. Lewis Klahr's Pharoah's Belt (Cake Excerpt) continues his singular experiment with collage, tapping forgotten images for their neglected memories, while Phil Solomon's Clepsydra hauntingly manipulates found footage to find the traces of a childhood trauma. An outing to the boardwalk results in a loss of consciousness in Eve Heller's hallucinatory reworking of found footage, Fainting Woman's Lost Monkey. Both Marjorie Keller's She/Va, a reworked home movie, and Joseph Cornell's Children's Party, a collage of found footage, revel in that which is seen by "the untutored eye." Dreamlike moments of childhood are magical and disturbing in their innocence.-Kathy Geritz She/Va (Marjorie Keller, 1971, Silent, Color, 3 mins). Children's Party (Joseph Cornell, edited by Lawrence Jordan 1968, 8 mins, Silent, B&W). Pharoah's Belt (Cake Excerpt) (Lewis Klahr, 1993, 9 mins, Color, 3/4" Video). Clepsydra (Phil Solomon, 1992, 14 mins, B&W). Suspense (Lois Weber, 1913, 10 mins, Silent, B&W). Fainting Woman's Lost Monkey (Eve Heller, 1993, 14 mins, B&W). Babel Town (Janie Geyser, 1992, 7 mins, Color). Passage à L'Acte (Martin Arnold, 1993, 12 mins, B&W). Varooma and the Moon Goddess (Jack Smith, 1963, 30 mins, Slide/Audio)