The Feminist Moving Image
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General
Course Long Title
The Feminist Moving Image
Subject Code
FPFV
Course Number
651
School(s)
Academic Level
GR - Graduate
Description
The Feminist Moving Image Across Discipline is a
new course that will consider work across
disciplines of several women and feminist
filmmakers and moving-image practitioners,
covering a wide range of practices and
forms-film-editing, diary-writing, experimental
documentary, art installation, figurative
painting, critical scholarship, screenplay, short
story, dance and theatrical performance, 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? And we will 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 and writing, which served as
inspiration for filmmaker Jocelyne Saab's Beirut
trilogy.
Other practitioners we may look at include Esfir
Shub, Maya Deren, Madeline Anderson, Marguerite
Duras, Marjorie Keller, Assia Djebar, Zeinabu
irene Davis, Alanis Obomsawin, Chantal Akerman,
Joyce Wieland, Barbara Loden, Yvonne Rainer,
Kathleen Collins, Maria Lassnig, Theresa Hak Kyung
Cha, Trinh T. Minh-ha, Qiu Miaojin, Cecilia
Vicuña; and more contemporary makers like Moyra
Davey, Larissa Sansour, Iva Radivojevic, SÃlvia
das Fadas, and Steffani Jemison (or others to be
determined). Guest speakers will help us make
embodied connections to contemporary practice, and
we may also make one or two visits to off-campus
venues to watch films relevant to our
conversations.
new course that will consider work across
disciplines of several women and feminist
filmmakers and moving-image practitioners,
covering a wide range of practices and
forms-film-editing, diary-writing, experimental
documentary, art installation, figurative
painting, critical scholarship, screenplay, short
story, dance and theatrical performance, 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? And we will 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 and writing, which served as
inspiration for filmmaker Jocelyne Saab's Beirut
trilogy.
Other practitioners we may look at include Esfir
Shub, Maya Deren, Madeline Anderson, Marguerite
Duras, Marjorie Keller, Assia Djebar, Zeinabu
irene Davis, Alanis Obomsawin, Chantal Akerman,
Joyce Wieland, Barbara Loden, Yvonne Rainer,
Kathleen Collins, Maria Lassnig, Theresa Hak Kyung
Cha, Trinh T. Minh-ha, Qiu Miaojin, Cecilia
Vicuña; and more contemporary makers like Moyra
Davey, Larissa Sansour, Iva Radivojevic, SÃlvia
das Fadas, and Steffani Jemison (or others to be
determined). Guest speakers will help us make
embodied connections to contemporary practice, and
we may also make one or two visits to off-campus
venues to watch films relevant to our
conversations.