THE CINEMA OF ME The Self and Subjectivity in First Person Documentary EDITED BY ALISA LEBOW & ‘WALLFLOWER PRESSPaes Isouoreosoretoagn ah re20 The ME and the WE: A First Person Meditation on Media Translation in Three Acts Alexandra Juhase ‘AGT 1: Moxme, Variant of a Maniista (ter Dig Vertou, "WE: Variant of ‘2 Manifesto, Verto [1922] 1988) ‘whic the nr fins media professor revisits the 1922 manifits of rspated master (Verto (192] 1984) zo demonstrate wha cages he the Ierlded mnchines and idan of fs ‘moder’ adap oer Mistry, cress ge der throngh he shiing strategies and demands of radial ata politics, aed (dningh digtal oh 1 call myself MiPme (MediaPraxisAlexandrauhase) ~ 8 oppose to ‘cn cmatogrpher: one ofa herd af machomen doing esther well edn sk 1 see no connection between tue femldigh-prans and the cuning ad caleulation of the eine profes, "eonsider manipulated corporate veal television ~ weighed down with susie and narrative and childhood games ~an absurdity, “To the American victim documentary with its showy dynamism and power disparities and to YouTube's dvect-toxamera deamatisations of: ‘many individuals personal pain o pleasure. ths fer digs practitioner ays thanks forthe eturn to ral people the hand-held look, ad the elose-up. Good. but disorder, not based on 2 precise study of Media Pras (the huncred.year history of theoretical writing and reited politics! media production)! A cut above the payhological drama, buts ackingia fou dation. A Cliché A copy of copy 1 proclaim the stuff of YouTube all based on the slogan (itrousing ells to ation oF consumption, or action ax consumption to be lepeous? Keep your mouse from them! oep your eyes of those bite-sized wonders they're morally dangerous! = Contagious! Torte the face of digital at by hacking its presen and earning om spat? Peek Ms. bild connections to story and theory and inter sions booacensdividals and comted comenites, With my sal heap ameorder my laptop andintrnet connection 1 make messy Fee far fem ideo committed to depth and complet. Crrancgropiy the eaest rae tation boi on siesble machines soya form and soo cine odventes most eso thatthe communal at of fer igh pris ay lve eal frit deat tobe hastned T pte agama the smooth operator and cil fora rough synthe of steeple, ery veal people and ther cate, mundane dies rid bowled Tite you the sec embrace of America’s Next Top Model the poison ofthe commercial sendap the etches of tehnophiis, the alle of bas tos to turn your back on msi elects ios ‘Se out inthe open wth eamcorderinhandsnt our dimexsons inn, poles, theory + practice) ia search fou on material rom out ce perience, reationships and commitments to soca ustice ‘pet made visible through a earncorde fer-dig praia small rnd: het eee vdeo aesthatic connected toa lengthy history of ome alow budget, plical and cheoeetical media production. “Author's Note : Since the mi1960s, have been making commniy based ett video aboot social wees to which lam coramited~ AIDS, feist ater pride an fais, war rpresnttion Bung on past theories and Sete of pot fiismaking, engaging within modern-day commariis rence practitioners have attempted co mola theoretically andcthally ence communally produced media practice making the most of affordable entumer tachnoloies, Las Yea, L3ttemptd to move this medi pant Veuube and was dappoited to find thatthe mere expansion of acest eoluconanddseminaton dosnt mea evoluon make.My mantaconjures the eyicsm of u ‘teonvction and the relevance of history and theory for today's new media forms vile maintaining commitment othe thi ACT 2:The Me 8 the We Mave t9 YouTube ‘i which the humble, bumbling anateur = the very same bombastic pve Untraduced iw ACT I, the slf sie Vf the Authors Note the eto called ‘SCALEAhedo’ on YouTube ~ ges cut dow ze asa res of ralating er mania nto short YouTube videos. ees Act, on profesor attempts to deseribe, using words lone, how she hacked te new media of YouTube t2 tnter-cut her shart Mme videos with ther Verto homage, and related dig tal suncren to create a veritable Vertoian internationale through the clunky ‘lal fection, tse demonstrating whats Bettred and lest by transfor ions in tecnlegy, tne,place, pits and tecligue ‘wall Myself Mp:me4.1 Call Myself Mpsme In bedroom on x burst. Around mieoe Feminine space catered with photos, alle knachs, papers. “The lf of women snd home ‘We hea‘ call myself Mme (MediaPrxisAlexandrafuhas. (We remember WE call ures Cine Eyes.” (Vertow 198865) ‘Siw but shaky) 290m into miro The ist of many (les, leoe) “Te female videoraker reflection, camcoder in hand comesnt 05 ‘She gall women Fimmakers She i: Mpme, nt WE, Mes feminine quickly claimed the ft person eschewing tance and artiste mastery. An I toward the WE. Achome with technology. Alone wi her consumer camera. On her bed, ‘She's dred (none ofthis prurient eye-bnking-bra-on-sht) Her acsted gure slowly ils dhe ame as she speaks her manifesta. Dislogue sited. Poody performed. Shes no actress Bathe did't use actors either The WE he caught was unaware,and shes very tsare hype-aware, Shoe quoting nenly hundred year-old im theory for God sake thot “THE MOST UNPROFITABLE, THE MOST UNECONOMIC WAY OF (COMMUNICATING A SCENE IS THROUGH THEATRICAL COMMUN! CATION! (Verto 1988:92) Diferent eels. New tuts. Changing tentials ‘She continues’. as opposed osinematographerone ofa herd of machomen doing rather well pedaling sick clean wares! We contest distinct fom ‘inemotographer’~ tht Nock of junk ears Uv do rather well pedaling thir ag (Verto 1988:69),) And she's no cinematographer No machomn junk eae Just postmodern feminist inserting her words nto what let behind Repeating Ripping Fane Ache A copy ofa copy He vented a word seen new, She clicks Command-Cand corrupts. He never filmed himself, though the est ofthe WE, his brother and wif were charatersin the movie plying themselves, cameraman ad evr. Shab allaloneat home lke so many present-day mediamalers.Reaching out through the wires, bat soted even so. ‘We wanted the personal to become the polit diferent move toward the comma But YouTube's premised upon the eolatd marae Sail zooming the eye ofthe camer fils the frame. Beyond self-referential into the endless reflective digital domain Using the Pais fanction, which allows YouTube to presenta series of pre selected videos in one's desktp vdeo seeenin the ordee ofthe retor! ‘s+ The Man with theMovie Camera, 192, by Dziga Vrtov 2, The Man withthe Movie Camera, 1929, by Dziga Verto Discodant electronica matched to stream ofthe astst cats imaginable. faster than the master, “THE ELECTRIC YOUTH (Vectov 198892),Ripped Vertorian iconography on steroiés. On Final Cut ro, “MAKE WAY FOR THE MACHINE®(Vertov 1988:91) No ned for sits. Or hands, Ora camera, We se his stolen Eyes Crowds yes. Trine. Eyes. Projector in a crondedcinea, “Aamachine,am showing yous world the kes of which only ean se’ (Veetov 19845). Modern adventurer giving tlfor the pjetof enhance vison new knowiedge “The Eye, puting the visual concept ofthe word bythe human eye ane fles- Iingits oven Ise" (erty 19847), Postmodern couch potato taking from the original to build 9 new soe of ‘welsee Double vison, Then and now His and mine Wall come ous. Zeros and ‘Fragments of actual energy |] condensed into cumulative whole by the reat matey of an eating technique’ (Vrtor 1986-7) Extended fil shot the signature extreme close-up, agua, of camera eye Shutters ose [Aer clunky playlist transition that nclades suggestion fr random videos that YouTube sugges you might want to see (and you often mig, hus ben ning an ames maples tip to wnreated sounds and images, the opposite of rmantage~ even a8 it shouldbe By eats of meaning). Catto: 3. Corporate Realty TVA Ciche(Mp:me part 3)" A mesy sink Nome agin Inesespable digital clarity. Too crisp, aly. {want to make a ideo about women, woman, ‘You hear my manifests‘ consider manipulated corporate ely television ~ ‘weighed down with susic and nrcative and chlchood games ~ an absurdity 28“This everyday ltchen is mine. A place for women where the common suff ‘offs made, cleaned, remade Realty TV stripped of dramatic eet. The plhin mundane detitsof ly fe “Life sso complex and contradictory in everyday stations that i contin ously ccestes dramatic conflicts and resolves them unexpectedly in the most ‘exteaodinary way. My Meuisto select and connect diferent pide an facts ing manner which wil erste a new nacrative whole a3 nique dramatic even (Shub 1933-449). ‘Camera begins slow continuous cicalar panto the let Nota place for Desperate Housewives. Too dirty; to funky ‘You ca elt Belong othe woman shooting i not some man with “The image lack expertise and distance Ste dryingin the sink, I say “To the Ametican victin documentary with it shown dynamism and power disparities and to YouTubes direct to-eamers dramatists of 9 ‘many indivi’ personal pain or please. ‘Shab again For 3 long time {have wanted to make a cinematic document bout Soviet women. Now everybody can judge the real ofthis endeavous, thing in this fm is supposed o be invented. There wl be no actors All the individual cen on the sereen will have hee personal names, famles nd addres. Peskaps they will en out to be your sequsintanes, ends or enemies (19334510), Camara continues to cele (Of eaurse there el and thes, ral again. Styles change. And realty with Stove with spice and teapot. Can we go somewhere neat? Cam we hen this chick tale about herselP Her abusive asbond? {his em-dg-practone says thanks forthe etuen to el people ‘Yin 1918 the etzens of lnnperial Rusia had wanted to know what woman i ie, the art ofthe period could have povided them with prcie answer “The thunder of cleus musi. Marches and fanfares, A blue and pink woman witha golden wreath around her head emerges ontheAina isin her ae, She changes nto a ull nade woman with ed chess, ving on roe Bas ‘She becomes Leonardo da Vincs beauty with the egies ‘She changes into the woman painted by Beardsley. Throughout this ‘pageant the ceeus music repeats marches and fanfare’ (Shub 1983: 451), ing. ‘Real kitehen: knives, Relrigerstor. No fanfare. eres Vertow' is nscesary tog out of the ciclo ordinary human vison ealiy must be recorded not by imitating, bu by broadening the circle odi- ‘aly encompassed by the human ee (1984: 10, the hand-held ook, and the close-up Good. but dso (Of its dsodeny Comers eps moving This kitchen, and the machine that records it ate a mess She needs some tning Anda vison. “Tye sound ofthe motor dominates. 4, | ol. & pasture A tractor it working. ‘We continue ta move thrugh the eld. Apparent, we are on an invisible car ‘which takes fom the Bd on the beige over small ier, “The villge opens up before us ‘We jump out ofthe invite ca. Everything srngs and shakes. The sound of ‘the motor ict of We are now frm on the ground. ‘Werealze thatthe er which brought us here isin fat, 2 mobile sound-movie heat (Stab 1978: 450). ‘Not based on a precise stad of Media Prone (the hundeed-yeae history of theorecical writing and related political media production). A cut above the peychoogial dara ‘Wires crossing om the counter, crossed wie. Cafee pot. Mixed machines rized messphors +b lacking in Foundation, A ch. A copy fa copy! Ciel complete My teacher ide fst, Aeomans way ofsecng” A Riddle \what do women want? See? a‘Very sow 360-degree panning shots encompassing difeentenviconments, from the domestic to the profesional. This eould be sean as formal devel ‘opment ofthe Lacanian analyses that Mulvey had applied tothe female image In lm in essays suchas 19755 Visual Pleasure and Narative Cinema Camere pans up. And there’ the cameravoman gan. Me. The vole. In my Nie kitchen mirror No community here. Sil aloe inthe house. Moving fom room to rom, miro to mire Shooting hese with commitment if not expertise. A broken tautlogy bull on eeferences, opposed to cinematic beauty, dieppointd inal thet snot delivered 'As we look atthe artist sighting along Ns outstretched arm and forefinger towards the centre ofthe eesen we afe watching, wht we eee @sstined tastologyslineofxght hat beginestAccones pane of sion and ends atthe jes of his projected double in that image of elt regard is configured ate. sam s endemic to works of ideo that find myself wanting to generalise tas the condition af the entre gence. Yt what would mean to "The medism of vido is narcesism?” (eau 1976-50) Her eyes move rapidly up and down, From direct gaze atthe viewer to quick stances atthe viewtnder, the ew kind that i elf 8 etand-alone private "DON'T COPY THE EYES (Verto 1988.91), “1Wo) reve both the rea ie and the psychology of epical woman working In the Sot vlage If we succeeded, it wll be the fst dec lm intrviwr With the new woman farmer isthe USSITherforeit has to be done na sich ay that the conversion doesnt lok cntrivd..One day in Khleeyansky Sesoviet tobe filmed on the specie dy, month and yar of 1984 (Shab 1978: 456. ‘CRASH! Something fallen and the woman with the camera starts. No con- leo. spect day, month, yet and room, 2008. Cutt: 4. Rate? A shot frm blow ofa rain endlessly longated wth Insects tasers, compact) Verto efated. Machines extending durations‘DOWN WITH 16 FRAMES A SECONDY (Vertov 1988-91) Looping moving forward on straight dynamic lines -Mossve metal Bast roaring above. WE are its power Atmachine. One man. Man with «movie camera. Allwright and might and moving sins. CGhostegsupeimposes computer generated spirals on to nar perspective of ore. “Things change, they stay the sme “Things move they says Clebraton ofancient madern digital vision machine. ‘ecennialmatculine emphasis on kinte linea forceful mache aided vison “our path leads rough the potry of machines, fom the bungling citizen othe peret electric man erty 19848) youre cute: 5. lam MPme Part 5° Camera starts on polka-dot shoes. Ashe pane up we se hat whe shes tl inside ses sow in an att’ staiochtered with paints, brass, and the portrait of young black gi her daughtec- Ofcourse, the long take (no cut- {ing fret, OF couse ends with Rersalf famed in porate IFrmessy ‘miso st, She’ no easter and her image ate Frustrating. They do not well tefl the ideas of het maifesto (wheres the corsmnity? The interaction? ‘Who is her we? YouTube viewers? Feminists? Women? Why i he always sonst) [Author's Note 21 hard o ge togiter a rem nt to mention the expense, ‘and who want to be the bose anya? Lets face some things don't deserve a Fansy-pants camera cd ie associated cinematographer some hing us want to ban, and ky co ay them, and show ther, ad f people want ose ‘ho al th oto ad they de, who cars? in not tying tobe some ind of genie An lotic mare A erntionl ar sta Isha the only reason fo take ar To speak? Real people mabe messy, regular things and God bess fo im nt saying Pn bling ction but no machoman either Varn-Pame thud connections to history and theory and iterations between Individuals and commited contmuite, With my snl heap cameo 17 leptop and internet connection make messy, colaborative, regula feminist ‘video committed to depth, ntracon and compesity ‘Over the past twenty years | have made experimental, personal, pli: cal documentaries about and within communis Im already engaged AIDS activists; medi eminiss: quer feminist snd lls fais the peace ‘movement. My scholarly work om alsst medi has pushed me to engage in an etiel practice, veering fom the tadtion and tactes ofthe victim ocumentary (aking pleasure in another’ pai) and instead imaging om ‘wuity-bound, communally peodueed feminist visions of radial, polit subjctiviy. My polis, which ate theoretical informed and consider the telations between power, sbjectivity, community and contol of representa ton, are communicated through the way I ofzanse che document | produce about my own lved experlences and ideas about the historleal wodd: my femidig- pans 7. Alex on intimacy, tension & beauty of small scale vio? I made my dacumentary SCALE? Mescring Might ithe Mia Age (207), wth and about my sinter Antoni an anti-war activist and sl-dclaeed pol fey wank ashe engage in sleet loving her rasstoats commaity behind to parse 2 corporate hook-tour™ Inthe documentary, we eonider those the sess and connection betwesn str, and sctse the Lal, mirror larger stores of power and intimacy. In thc longish, Sve-minute lip af footage rom the documentary (YouTube {is at its best at evo minutes or less, we face the camera, sting nes to each other on train hold age microphone and a pad of paper wth note. { sppeat tobe interviewing my ster We ae lookingat each ater not the eam- er. Our bodies fae each ther Our body langue easy and interactive She fk me if wil look werd that my documentary eu footage fom my small Ihand-eamers! with that ofthe profesional cameraman (ho icles shoot ing this interview) twill remind viewers abou my SCALE anion. Maybe ‘hell think t's a atte coe) Antona uggets {ep that itis, a, attic and a practial hoe to shoot small. The cameraman is expensive! “There an artiste and formal beauty to mein something that loks keene person made it by themselves [J there an alti decision to see my hand ‘Tose that am nota television tation. In not even like my cameraman, ‘wise independent work moves aa higher level than dees my own Tats an iden of the pec that will besa visualAntonia want ta about the intimacy and tension erate by boing i ters engaged ina documentary projet. The cameraman pushes in The sisters gre it as been hard tobe together 24/7. Ie comes with its on ‘rama! The interaction loosens and the sisters Become more demonstrative: eye rol laughs. We say wed teat each other diferent we were random human beings, ling he eypical roles for documentary making, But all of my work: hasbeen made about people have intiate relstonshps with There some- ‘hing inthe ininacy and tension that silt my work, andi why T work conasmallscale[.] Now youre spokesperson, not my ster So when make sn intimate documentary about you tesa very big story £8. cal forthe death of Cinematography (MP:me part 6)" mina makeup itor Ctcled by anova fight, On a vanity “LEGITIMSED MYOPLA (Vert 1988: 9), Fst person work. Mutpid. Fragmented, What am 1 fighting for? ‘Our movement was tobe from the {othe we This technology gets in| ‘am lm writes A cinepoet. donot write on paper bt a le. [.] Now t ‘am warkingon fms abou the woman. Theis not one subject. bua series of themes. These in wl be about 2 school gil sbout gilt home, boat a ‘other and chil abost abortion, about the erestivefersle youth, about the Aierences between a ils sd those abroad. about the infant gl, about ‘the mature woman and the old woman. (Vertow 194: 369), ‘Watching myzalf. Listening to myself peak. Mature woman. Gilat home, Gaining an losing elf. thority, master and community. ‘ertow and hisboye st the people Felet is brother pay himsell, helen in fil about no one, everyone Asthoity wae put onto others, difsd, tobe reclaimed. Cemented for the 1 declace: ‘Cinematography, the modernist mae tation bu on sieable machines. sili foe and solo cne-adventures must dieso thatthe commtr alae ofemicdgiprasis may veel for its death tbe hastened ‘outTabe cats to9.1 with a Movie Camera: The Partcptory Remake ‘3 Man With A Movie Camera:The Global Remake Split seen (Od on ee let. New om the ight. “Media connects the worl “ou are walking down steetin Chicago now in 1923, but once you to bow tothe ate Comrade Volodarky, whois wilkng longa teen Petrograd in 1918 and whe responds to you witha bow: (Vertor 1988-92) Interactive sate (and at world fandedlcalgobal exchanges The impending revolution dough newsea fbn (Verto 188: 9) Access opened just ashe antilpte Somethings change Some ay the sme (On thelftand right: prety gis wake and get dressed each lovely lady puts herbra ora before. intercut withthe cameraman onthe mare‘You ae invited to upload Participate Coda: Verto signature ey nthe laos (lf mas unedited eye (ight), ‘witha corner of smile Credits: Commissioned and Craduced by Cornerhouse, the bigger Picture: Enter; Lumen Gallery i association with the BBC, Funded by the Arts CCounel of England “THE MACHINE & (TS CAREER’ (Verto 1988:9). ‘YouTube cats 10. 0n activism vereus the movement of eas"? My sisters being interviewed by mein medam closeup, Shean a couch in her apartment, looking atthe camera ee (ne). ‘Do you consider yourself an activist” “eal (he lush). rw do you define that” ‘Antonia answers ‘For me being an activists puting ideas {have into some oem of action which means some form of organizing Ws nt jst protest and its not jusatculating problems, bat ying to change them 'o your book {The BUSH AGENDA: Invading the World One Economy at 1 Tie) isnot actor, bat 2 preliminary step towards stim, Iwill become atvsm if! oxpaiae around the dens ofthe bok! ‘One of theless forme’ contaues Alex 'assomeone who worksin the move- Tent of ideas Well we Both crate Hess, Wee inelectals. We both move ideas though wtting or vdeo. f tha 1 debate hss that itself tetivinn~ probably not ~ when ils up agains another human being and testes anew way of knowing “think its bout what you do wit the em ‘You cat have one without the other. You cant have acts without the ‘des moving But ative ens relted ation and change in the wore ot ua the world of eas! “Lagree!conclades my sister ACT 3: My Manifest In whic ty jusly ACT 2YouTube lets me effortlessly make and share my messy wares. The man with 8 movie camera had to ride motorears, cli smokestacks, and crawl beneith ris while T acces his ancient fotageat home with one eck. The woman ith the editing machine Rad t in up celluloid strips on hocks on the wall which she cut with seissors and sealed again with lue while lik wth another click, While artistry count fr alot ~ genius, beauty itis nt the only reason to make or watch media and it ie hard fr real people to muster or master. DIY (and contemporary feminism) were beyond Vertors vision, even as his subject was the peoplefwomen, The ‘bd’ video of YouTube, tine included, berade anew frm of communication, bul fom old and new machines. For Instance, sing the (new elunky YouTube Playlist function, Lintereut betwee the simple video chapters of my (new) manifesta and some ofthe ubiquitous (old and new) YouTube versions of Man with a Movie Camera, aways t my reach. On ne making easy us ofthe new technologies and forms of YouTube, {tive I efectvly demonstrate sustaining tensions and connections (but tats been harder to accomplish hee between modernist/post modernist form, ale ad female approaches to met the home and heey the prvste and publi the personal and the sci, going rola and communal the slfand the group, the selfand the other, film an video, the analog and the digital the expert and theater the communist an the feminist. ad how the powers fof ew medi undo or redo many of Verto’ ais abou cinema (inking, ‘montage the unscripted and sciptd rea) incadng the changing proesiee of production, prtipatin, and ellabortion Authors Note 3 Trained as an academic and a video acti, thas not been cy for me to depart from the tied and true methods tat give our Work its place. Or perhaps is been too easy: my fein inclinations have een that Ve almost always ween in the'! voce, deaowtng argon, affecting the pretence ofthe loosening of authority And Ive always isso om also making Petsonelpolisl videos, to, whatever my bosses sy ithe norm. In any cae, haveatrempted eve to model the posblty fe lay, experimentation, aft Ing ~ the waning of expertise ~ that YouTube, ats bet crates for anyone with access to an increasingly inexpensive st of home digital tools. Fr this ss ret creatively translate int wring a uniquely YouTube movement (and moment linking inepe and sounds say created andlor gathered rom across the history of einema onl then tobe equalised on 2 digital screen rmmiched the peti (and perhaps bombast) waiig syle of Verto and ako Esther Shab) to creat Script’ of videos tha can never be seen on pape, bt are extly accessble on YouTube. The Soviets eniipated a visual Esperanto, beyond the word, whore ime is upon us, And yet eno. For hese 1 write,and feel better heard. More people can se these fis’ on YouTube than ever saw thom on Vertov sapiens oi cinema studies classrooms. More people will hear me anton YouTube than wil ever read these pages. Yet, on YouTube, isolated om thelr context of production, and embedded within corporate frames, these videos flow aerchangebly and without the necessary shock of the nee. Made by newly Uberated consumers, many of them lok ike, ae oF pay homage to carprste medi, They fll outside a commarity of believers ‘oreven laters, they ae produced and consumed by individual eyes alone In thee private bome-meda-paacs. These dee Ace attempt a translation and re-tanlation ~ fom Vertov to contemporary feminist vdeo to page ~ poating to specifics of access, language, medium and expertie that are becoming confused, due to YouTube’ power af euss-media~ but which are slays athe hear of making, understanding and writing about fist person media work, Notes 1 Seeman tgs lb: mae metees com 4+ py conve 20QCeRUYaeesPajatpetCSS2S8TORECEE Baga ve 180. Cau Fun urn Tage te Alena ee patos 1 pmo oni cNeseresPaylaiptoeseroRcoCD Deserpon Hon ary pane eter a tow ms 9 ocd? Caen: Pope & ngs Yar Og Veron Kno ae 1 hipiemyacbe coach wou! assae~Lep-fos825872SECOCDS Noee Fam eattneoe Ae abn 22208 98 Deserta enzo manne pan ety anion wih oom wna Sncraatvan ohn anes ~ ae he Some vn Goat) ‘est ama an oot Guia anda etc aia ‘foray paral nr fe cer sys a ‘entre pepe. en kw dos. 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Catgo: Nava Per aps aeALEasnouneiy SEALE References tas, A G00 he BUSH AEN nang en ne Eero at Te Ne, cana 7 iT Anat ot Nr Ctr 1 5-6 ‘ep GoM Sowsnanine, este ome Sn Mipetsoeeonne tnd ‘78 911M eM a Fi bol Wa at at Er SaLoans Pet uray Ra Fi Suse. 3 80-8 eon. 04 Fa Att Waar ba Te ngs Op [el eo re "hihacrernatiningen ees 98 mn i Wa in np he a of yr A saz ern eats [a ara Gees A avon “yor ana vets he natn: ssn ane St noms Bsc Ne Ue Rose OT nS