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While interdisciplinary artist and filmmaker Cauleen Smith’s 1998 narrative feature Dylongso is rightfully heralded as a formative twentieth-century coming-of-age film (alongside Jessie Harris’s 1992 debut Just Another Girl on the I.R.T. and Ayoka Chenzira’s 1994 film Alma’s Rainbow), Smith’s contemporary oeuvre of experimental video works merits equally enthusiastic attention.
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