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1991 Program Notes Close-ups of a male and female body during lovemaking are photographed in such a way that we are frequently unsure which particular portion of which body we are seeing. These close-ups are juxtaposed with long shots in slightly fast motion of the bodies entwined or rubbing against one another. The film emphasizes the essential biological nature of the human organism. In a more formal sense, too. Love is interesting, because of the dramatic black and white contrasts in the imagery, created in part by shooting in 8mm and then blowing the film up to 16mm, and because of Yoko Ono's soundtrack, which combines a 'shhhhhhh' reminiscent of white noise with a variety of other intermittent sounds (to make the soundtrack, Ono hung a microphone out the window). —Scott MacDonald Anma (The Masseurs) (1963); 16mm (blow up from Reg. 8mm), b&w. silent, 13 minutes. A document of Butoh dance by Tatsumi Hijikata (the originator of Butoh) with Kazuo Ohno. A cine-dance, not merely an objective document of a dance but a film in which the camera (and cameraperson) actually participates in the action on stage. Rose Color Dance (1965); 16mm (blow up from Reg. 8mm),b&w, silent, 13 minutes. Another cine-dance of Hijikata Butoh dance with Kazuo Ohno restructuring the material for the film. I Saw the Shadow (1966); Reg. 8mm, b&w, silent, 12 minutes at 18fps. Talking Picture (The Structure of Film Viewing) (1981); Super-8mm, color, sound, 15 minutes. Playing the double role of the filmmaker and the film viewer at the same time, the artist sits with his back to the audience and faces an empty screen. The film discusses the structure of film viewing and the role of the film audience. Film notes provided by the artist except where noted. Other materials taken from Takahiko Iimura: Film and Video, published by Anthology Film Archives, N.Y.,1990. —Albert Kilchesty TITICUT FOLLIES by Frederick Wiseman Sunday, October 13,1991 Titicut Follies (1967); 16mm, b&w, sound, 87 minutes. Produced, directed and edited by Frederick Wiseman. Photographed by John Marshall. On July 29th of this year, a Justice of the Superior Court of Massachusetts ruled that Frederick Wiseman's film Titicut Follies, banned from worldwide public exhibition by the Massachusetts courts since 1967, may now be shown to the public. Until this historic ruling, Wiseman's film had been the only film made in the U.S. to be banned for reasons other than obscenity. Although available in slightly different form to researchers, mental health professionals and students, and film scholars since the late 60s, the wider banning of Titicut Follies made it a cause celebre for almost twenty-five years. A very brief overview of Titicut Follies' tumultuous history. Tempest in a Snakepit "For a month in the spring of 1966, Frederick Wiseman, a slight 37-year-old lawyer-turned-filmmaker, prowled with his camera the stark corridors of Bridgewater State Hospital, a warren for the criminally insane in 63