Valie Export's work is best approached through her first feature-length film Invisible Adversaries (1977), which represents a juncture of her current interest in making fiction films and her past work as both a photographer and graphic and performance artist. film has been acclaimed a feminist version of the science fiction film Invasion of the Body Snatchers. However, since Export professes not to know it, the comparison between the two must be limited to drawing a simple thematic parallel- the takeover of a population's mind by a foreign power. This theme does lend itself to a feminist version of science fiction, albeit not so much in the sense of a utopian project for the future as in an investigation of the past; to this I will return. But Invisible Adversaries is perhaps even more closely related to the incipient science fiction of E.T.A. Hoffmann's tales, to a mixture of black humor and horror resulting from the animation of objects, the confusion of identities, and the phenomenon of the double which Freud analyzes in his essay The Uncanny as the return of the repressed. Ironically, in the film, the scene of this return is Vienna, the place of the first scientific formulation of the patriarchal unconscious. In Invisible Adversaries Vienna's reputation of easy-going charm declines rapidly as the city turns into the scene of angst for the film's protagonist Anna. One morning she hears a radio report announcing the earth's invasion by the