It was never meant to be easy to choose a film and perform an analytical surgery on its multiple reels of film. The disassembling of the frames created a chaotic collection of narratives and meanings. To make sense out of this chaos was to ask myself to pick up the pieces, frame by frame, and recreate a bricolage of what this particular film meant to me and hence, what I wanted to say about it. Along the process of an analytical surgery, another factor came to affect my choice of which frame to cut as well as which frames to join together. Namely, my personal values that affect every frame that was chosen and every word that was printed on this paper, and how my own cultural, moral and social values affect the reading of a film. It depends on how effective can I analyze through a web of intangible social relations where I stand out as an Asian lesbian feminist activist and a graduate student in the Educational Studies department of an academic institution, namely, the University of British Columbia. But it also depends on how clear am I in where I situate myself among different personal identities and the meanings of these identities prescribed by myself and by others. As a result, personal standards of what counts as representation and what does not become evident in the splicing and cutting of frames.