Many films of the sixties had a modernist awareness of the materials and conventions of cinema. Looking back at these films now, it is striking how often women are used as image, standing in for nature, sexual freedom, fertility, or the mysterious and inexplicable. In the search for creative meaning, reflexivity rarely extended beyond formal and political issues to those concerning gender. Yet in some of these films one can see the beginnings of feminist analyses in which the link between the social and cultural representation of women is glimpsed; in Gunvor Nelson's seminal Schmeerguntz, it is explicit. Central to the minimalist Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, Etc., exploring the unacknowledged aspects of the film medium, is the so-called "China Girl" who appears on the leader of most films-a woman who is invisible to the audience, used by lab technicians to "normalize" film color to her flesh tones. The films in our program will be shown in chronological order to better trace the paradigm shift which shortly thereafter gave us feminist criticism.-Kathy Geritz