Robert Banks, who lives in Cleveland, has been making experimental work in a variety of styles for almost thirty years. His MPG: Motion Picture Genocide (1997, revised 2002) uses handmade techniques to critique the vast history of screen violence inflicted upon African American bodies. An opening image of a hand-painted, yolk-colored circle gives way to more painted frames of purple and cerulean. Banks tells audiences unfamiliar with his cinematic abstractions to “just think about it as graffiti that moves.”36 Toggling between the painted and drawn images (some of which were composed with permanent highlighters) and a panning shot of a young Black man, shirtless, apparently dead on a street, the film quickly adopts the tone of an older horror film. By directly addressing the spectator through text, while juxtaposing bright painterly gestures with murdered Black bodies, Banks attempts to allow his audience to see familiar images of violence with new eyes.