A Bruce Conner film might be constructed from a dozen or a hundred instances—shards, jolts, figments—of déjà vu. Though it may employ fewer: Marilyn Times Five (68-73), where an iconic handful of b&w nudie tableaus are gracefully looped back on themselves as though refracted through a peep-booth's two-way mirror (just a recumbent Monroe lookalike, a bottle of Coke, and thou). These images, scavenged from home movies, newsreels, stag films, Defense Department footage, educational shorts, and TV commercials, are summoned forth from our collective consciousness, and beckon us down that irrationalist primrose pathos into their subterranean lairs. If the specter of the Sixties continues to haunt the imagination, as an unraveled utopia of ruined shrines, forsaken promises, and impossible desires, then Bruce Conner is the era's truest documentarian, as well as its shadow DJ.