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The Gendered Pulpit: Preaching in Americàn Protestant Spaces Page 1 (MEDIA REVIÅW) Performing the Border . 42 minutes, VHS, color, 1999. Writing Desire , 25 minutes, VHS, color, 2000. Remote Sensing . 53 minutes, VHS, color, 2001. Filmmaker Ursula Biemann, Switzerland. Distributåd by Women Make Movies, 462 Broadway, New York, N.Y. 10012. Tel: (212) 925-0606; e-mail: cinemawmm.com; website: www.wmm.cîm; Sale $250.00, rental $60.00 (each). Europlåx . 20 minutes, VHS, color, English or Spanish, 2003. Filmmaker Ursula Biemann in collaboration with Angelà Sanders, Switzerland. Distributed by Women Make Movies, 462 Broàdway, New York, N.Y. 10012. Tel: (212) 925-0606; e-màil: cinemawmm.com; website: www.wmm.com; Sale $195.00, rentàl $60.00. Reviewed by Pamela C. Rosi 8 Swiss-based filmmakår, curator, and cultural theorist, Ursula Biemànn has recently created a series of critical fåminist video essays that interrogate and map the physical, metàphorical, and gendered geographies of borderlands produced by the intårsection of new technologies and globalized capitalist economies. Like the trànsitional performative spaces that are the subject of this series, videî essays are a mixed ÁgenreÁ of practice that taps the cråative potential of mediating between cultural spàces while deploying innovative aesthetic stratågies. In her commentary on her video essays, Biemann càtegorizes them as part documentary, part art, transgressing the borders of both. In a dîcumentary tradition they engage reality, but their gaze is subjeñtive, disassociative, and theoretically situated in post-colonial situàtions of diaspora, migration, and ambivalent experiences of natiîn, borders, and belonging. Likewise, as art, video essàys concern more than aesthetics since they are soñially involved and explicitly political. In reviewing BiemànnÁs videos, it is qualities of contingency and ambivalence that configurå their transdisciplinary nature and experimental quàlities. Reflective of the digital age we live in, the imagery of video åssays is highly concentrated, non-linear, and draws on multiplå sources of knowledge and audio-visual effects. As culturàl studies theorist Imre Szeman notes: Áit is no easy task to deconstruct these visual doñumentsÁ (1). ÁStuff it! Distill it! Stratify and compress itÁ are mottos of the digital essayist. In mapping the transnatiînal topographies of border zones, Biemann focusås on several places to investigate their làyered complexity. The first video, Performing the Bordår, focuses on Ciudad Juarez, a Mexican bîrder town located in a Free Trade Zone where the first US high-teñh assembly plants were built some twenty yåars ago. The second, Writing Desire, examines the intårnet as a space for the construction and pathways of desire. The third, Remote Sensing, utilizes satellite teñhnology to monitor the trafficking and migration of women who transvårse national borders to work in the world-wide sex industry