violator that they would be looking at this woman who is perhaps a victim. I didn't think of them as victims at the time... Obviously I'm trying to make someone feel bad for having a certain expectation". She explained to The New York Times in 1990, "I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear." She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants. She has said of her process, "I think of becoming a different person. I look into a mirror next to the camera…it’s trance-like. By staring into it I try to become that character through the lens ... When I see what I want, my intuition takes over—both in the 'acting' and in the editing. Seeing that other person that’s up there, that’s what I want. It's like magic." Untitled Film Stills The series Untitled Film Stills (1977–1980), with which Cindy Sherman achieved international recognition, consists of 69 black-and-white photographs. The artist poses in different roles (librarians, hillbillies, and seductresses), and settings (streets, yards, pools, beaches, and interiors), producing a result reminiscent of stills typical of Italian neorealism or American film noir of the 1940s, 1950s and 1960s. She avoided putting titles on the images to preserve their ambiguity. She would often pose her heroines as alone, expressionless, and in private. An overarching characteristic of her heroines were those that did not follow conventional ideas of marriage and family. They were rebellious women who either died as that or who were later tamed by society. Modest in scale compared to Sherman's later cibachrome photographs, they are all 8 1/2 by 11 inches, each displayed in identical, simple black frames. Sherman used her own possessions as props, or sometimes borrowed, as in Untitled Film Still #11 in which the doggy pillow belongs to a friend. The shots were also largely taken in her own apartment. The Untitled Film Stills fall into several distinct groups: The first six are grainy and slightly out of focus (e.g. Untitled #4). The next group was taken in 1978 at Robert Longo's family beach house on the north fork of Long Island. (Sherman met Longo in 1976 and began a relationship with him)