Curated by Ariel O'Donnell While conscious memory approaches the narrative, the unconscious reveals transient images from the past, like reflections in water. The body can act as a trigger to such memories. A subtle gesture, a glance at an image, a sexual interlude, can leave us with an unsettling sense of d?`vu, carrying us back to a past with which we are inextricably tied. Cathy Cook's The Match That Started My Fire (1991, 19 mins) recalls the joyous innocence associated with pleasure in childhood, as wmen tell of their earliest sexual memories. She's Just Growing Up, Dear (1991, 16 mins, B&W) dramatizes a loss of innocence: Julia Tell's re-editing of a fifties educational film creates a menacing accompaniment to a woman's recollection of a childhood of sexual abuse, a battle with elusive memory. Bruce Conner, in Marilyn Times Five (1968-73, 13 mins, B&W), elaborates on the American collective memory in a melancholy titillation which forces the viewer into the position of a voyeur. Jennifer Gentile's seductions are anything but subliminal in Corn Smut (1991, 7 mins), her road film for the '90s. M. M. Serra's documentary L'Amour Fou (1992, 20 mins) graphically explores sado-masochistic relationships, including the effect of popular culture (i.e., cartoon violence) on one man's sexuality. Kenneth Anger creates a multilayered dream of submission and conquest in his rarefied first film, Fireworks (1947, 15 mins, B&W). -Ariel O'Donnell Ariel O'Donnell is a curatorial intern at PFA.