Women’s Experimental Cinema
offers vigorous introductions to the paintings of fifteen avant-garde girls filmmakers, a few of whom labored as early because the Fifties and plenty of of whom are nonetheless operating this present day. In each one essay during this assortment, a number one movie pupil considers a unmarried filmmaker, delivering biographical info, reading a number of affects on her paintings, studying the improvement of her corpus, and studying an important variety of person movies. The essays rescue the paintings of seriously ignored yet influential ladies filmmakers for educating, extra learn, and, with a bit of luck, recovery and maintenance. simply as importantly, they increase the knowledge of feminism in cinema and extend the terrain of movie background, fairly the background of the yank avant-garde.
The participants learn the paintings of Marie Menken, Joyce Wieland, Gunvor Nelson, Yvonne Rainer, Carolee Schneemann, Barbara Rubin, Amy Greenfield, Barbara Hammer, Chick Strand, Marjorie Keller, Leslie Thornton, Abigail baby, Peggy Ahwesh, Su Friedrich, and Cheryl Dunye. The essays spotlight the variety in those filmmakers’ kinds and strategies, masking themes corresponding to how Menken used movie in an effort to reconsider the transition from summary expressionism to Pop paintings within the Nineteen Fifties and Sixties, how Rubin either objectified the physique and investigated the filmic gear that enabled that objectification in her movie Christmas on Earth (1963), and the way Dunye makes use of movie to discover her personal id as a black lesbian artist. while, the essays show commonalities, together with an inclination towards documentary instead of fiction and a dedication to nonhierarchical, collaborative creation practices. The volume’s ultimate essay focuses explicitly on instructing women’s experimental motion pictures, addressing logistical issues (how to procure the flicks and safe right viewing areas) and increasing the variety of the booklet through suggesting replacement motion pictures for lecture room use.
Contributors. Paul Arthur, Robin Blaetz, Noël Carroll, Janet Cutler, Mary Ann Doane, Robert A. Haller, Chris Holmlund, Chuck Kleinhans, Scott MacDonald, Kathleen McHugh, Ara Osterweil, Maria Pramaggiore, Melissa Ragona, Kathryn Ramey, M. M. Serra, Maureen Turim, William C. Wees