of expressing love, desire, and erotic pleasure between lesbians openly. Those films aim to illustrate personal and private ideas and beliefs and hope the audience can get physically involved. Hammer was actively involved in media making industry during this period, including learning new skills and techniques, organizing premieres of her own works, opening film workshops and lessons that are related to women filmmaking, etc. Notable works from this period: Dyketactics (1974): Dyketactics is one of the most prominent works in the history of lesbian cinema. It was made during Hammer's time at San Francisco State University. As Hammer talked about in her later interview, one of the reasons for making this film was that there were no lesbian films existed during that time. There are many intimate shots in Dyketactics: women take off their clothes and dance with each other, embrace with the nature and touch each other, and a love-making sequence, which Hammer is personally involved in that scene. The slow and gentle actions of the women onscreen and the use of superimpositions and careful framing make those erotic scenes romantic and sensual, differentiating this film from pornography in both narrative and visual forms. Through Dyketactics, Hammer presented lesbian love-making which had not been shown in earlier films, and set a milestone in lesbian cinema. Superdyke (1975): Superdyke is made in the early stage of homosexual liberation. The film includes many illustrations of the female body, including nudity, self-touching, and masturbating. Hammer's choice of cinematography in Superdyke was noticeable; for example, she used close-up to capture female bodies on the beach in order to emphasize the tactile sensation of the bodies and the surrounding; she panned the camera together with female characters' movements in a dancing scene to create the motive sensation. By doing so, Hammer explores the sensual potential of filmmaking. Double Strength (1978): Double Strength focuses on Hammer's relationship with trapeze artist Terry Sendgraff. Though this is a film about this couple's relationship, Hammer does not appear much in the camera. Most of the shots record the body of Sendgraff while she is on the trapezes. There are many superimpositions of Sendgraff's body and shadow and interactions between Sendgraff's body and daily items. The visual style and technics of Double Strength are consistent with Hammer's other works during this period. 1980s–mid-1990s: Mid-career and deepened focus Hammer's mid-career films danced between short film and feature-length. This part of