Declaring a video practice specific to women is an empty gesture without divining motifs and common crusades. Tonight's program discerns a unifying theme in the recent work of three women. Though they employ the medium in radically different ways, the relationship of daughter and parent preoccupies all three. Two Bad Daughters, by Barbara Hammer and Paula Levine, is a whirlwind tour of paternal institutions: fatherhood, Lacanian psychoanalysis and bondage. The tape turns on the dominators, using a heavy complement of graphics and manipulated images to collapse control. The stratified surface of Two Bad Daughters is playful, an energetic barrage of text, acrimony and artifice. It is play that proves most subversive. The "Bad Daughters" reject obedience to the Father in favor of the impish anarchy of self-possession. Julie Zando's Let's Play Prisoners delves into the tangled relationship of mother and daughter. Through storytelling, repetition and an edgy camera, Zando explores the primal passions that pass from mater to offspring. The mother in this case has the boundless power of denying love to the child and thus establishing rule by absence. The media, too, is implicated in this stratagem: unidirectional info flowing to the lovelorn viewer. Continuing her confessional series, Lynn Hershman's First Person Plural casts light on the dark recesses of the past. The nightmare of child abuse emerges, as Hershman divulges her splintered loyalty to parents who deny the maltreatment. Creating a global analog for her pain, Hershman draws on myth and history, seeing the morbid characters of Dracula and Hitler as models for the seductive but unforgiving Bad Parent. Steve Seid