Tonight's filmmakers share an interest in the formalproperties of film-each uses a structuring principle for his film(s)-and whiletheir "content" may seem minimal or submerged, they also share aconviction in the power of film on its audience. Peter Kubelka's films must countamong the most slowly and carefully constructed of any (his filmmaking output nowtotals about an hour). Composed frame-by-frame, they are edited according toelaborate ordering principles, which both expose the mechanisms of film-the useof still images to create an illusion of movement, the organization of sound andimage to create meaning-and experiment with them to create an intense aestheticexperience. In contrast, Michael Snow's Wavelength consists of one continuouszoom shot. His film is as much "about" the filmmaking process-filmmaterials, film space and time-as it is about the power and qualities ofnarrative. For Paul Sharits, film has the potential to alter the viewer'sconsciousness. In Epileptic Seizure Comparison, he "compares" two typesof seizures-those depicted on the screen, and those he attempts to induce in thespectator through his rhythmic patterning of color. Kathy Geritz Films by Peter Kubelka: Adebar (1956-57, 1.5 min, shown twice),Schwechater (1957-58, 1 min, Color, shown twice), Unsere Afrikareise (1961-66,12.5 min, Color), Pause! (1977, 12 min, Color). Film by Michael Snow: Wavelength(1966-67, 45 min, Color). Film by Paul Sharits: Epileptic Seizure Comparison(1976, 30 min, Color). Also: Film by Kenneth Anger: Kustomkar Kommando (1965, 3.5min).