FPFV451
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The Feminist Moving Image
Course Long Title
The Feminist Moving Image
Subject Code
FPFV
Course Number
451
School(s)
Academic Level
UG - Undergraduate
Description
The Feminist Moving Image Across Discipline is a screening-based and discussion-led seminar that will consider work across disciplines of several women and feminist, queer, trans+, and political filmmakers and moving-image practitioners,
covering a wide range of practices and forms: production notebook, experimental documentary, art installation, animation, figurative painting, critical scholarship, screenplay, short story, dance and theatrical performance, and artist and narrative cinema, to name a few, from the 1920s to the present day.
When grounded in filmmaking, can a political vision be found in the interdisciplinary artist who moves from form to form? What common threads can be found in these geographically and historically disparate figures' strategies of archival collage, reappearance, repetition, dislocation, wandering, staging, and reenactment?
We will also periodically return to questions around the boundaries of artistry and language: How is "women" still a demanding category, today? How does an artistic medium become a "discipline"? Is activism a medium an artist could move into? Is acting a form, like painting, that an artist could reject? We also look for connections in intertexts, reading excerpts from socialist Flora Tristan's diary, as referenced in Claudia von Alemann's Blind Spot (1981), for instance; or Etel Adnan's poetry, painting, and journalism, which served as inspiration for filmmaker Jocelyne Saab's The Beirut Trilogy. Postcolonial and transnational feminist-film analysis around cinema of the banlieue and theories of location and the nomadic will also support the study of our practitioners and texts.
Practitioners we look at include Zora Neale Hurston, Maya Deren, Lis Rhodes, Madeline Anderson, Marjorie Keller, Assia Djebar, Nguyen Trinh Thi, Zeinabu irene Davis, Chick Strand, Alanis Obomsawin, Barbara Hammer, Franci Duran, Joyce Wieland, Delphine Seyrig, Safi Faye, Yvonne Rainer, Kathleen Collins, Maria Lassnig, Theresa Hak Kyung Cha, Trinh T. Minh-ha, and Cecilia Vicuna; feminist artist and film collectives like South Korea's The Kaidu Club and France/Switzerland's Les Insoumuses; and contemporary artists like Annalisa Quagliata, Rhayne Vermette, Mati Diop, Moyra Davey, Iva Radivojevic, and Steffani Jemison (or others to be determined). We may also make one or two visits to off-campus venues to examine films relevant to our conversations.
covering a wide range of practices and forms: production notebook, experimental documentary, art installation, animation, figurative painting, critical scholarship, screenplay, short story, dance and theatrical performance, and artist and narrative cinema, to name a few, from the 1920s to the present day.
When grounded in filmmaking, can a political vision be found in the interdisciplinary artist who moves from form to form? What common threads can be found in these geographically and historically disparate figures' strategies of archival collage, reappearance, repetition, dislocation, wandering, staging, and reenactment?
We will also periodically return to questions around the boundaries of artistry and language: How is "women" still a demanding category, today? How does an artistic medium become a "discipline"? Is activism a medium an artist could move into? Is acting a form, like painting, that an artist could reject? We also look for connections in intertexts, reading excerpts from socialist Flora Tristan's diary, as referenced in Claudia von Alemann's Blind Spot (1981), for instance; or Etel Adnan's poetry, painting, and journalism, which served as inspiration for filmmaker Jocelyne Saab's The Beirut Trilogy. Postcolonial and transnational feminist-film analysis around cinema of the banlieue and theories of location and the nomadic will also support the study of our practitioners and texts.
Practitioners we look at include Zora Neale Hurston, Maya Deren, Lis Rhodes, Madeline Anderson, Marjorie Keller, Assia Djebar, Nguyen Trinh Thi, Zeinabu irene Davis, Chick Strand, Alanis Obomsawin, Barbara Hammer, Franci Duran, Joyce Wieland, Delphine Seyrig, Safi Faye, Yvonne Rainer, Kathleen Collins, Maria Lassnig, Theresa Hak Kyung Cha, Trinh T. Minh-ha, and Cecilia Vicuna; feminist artist and film collectives like South Korea's The Kaidu Club and France/Switzerland's Les Insoumuses; and contemporary artists like Annalisa Quagliata, Rhayne Vermette, Mati Diop, Moyra Davey, Iva Radivojevic, and Steffani Jemison (or others to be determined). We may also make one or two visits to off-campus venues to examine films relevant to our conversations.