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Feminist counter cinema

– does this film address me as a woman?
– does it employ some sort of re-vision?

              S...
“Maedchen in Uniform,” Leontine Sagan, 1931
“Jeanne Dielman,” Chanal Akerman, 1974
“Born in Flames,” Lizzie Borden, 1983
“A Question of Silence,” Marlene Gorris, 1981
Feminist video art, 1970s

– process-oriented work
    – documentary
     – performance
– experimental narrative
“Joan Jonas,” Vertical Roll, 1972
“All Vision,” an electro/opto/mechanical environment,
                  Steina Vasluka, 1976
Feminist video art, 1980s + 1990s

           – video essays
– personal diary, confessional pieces
            – installat...
“Trick or Drink,” Vanalyn Green, 1985
Feminist Net-based art
and interactive media art
          1990s
VNS Matrix. 1991-1997
VNS Matrix, Cybermanifesto for the 21st Century, 1991
VNS Matrix: Bitch Mutant Manifesto
OBN: Old Boys Network, 1997-2003
“F-e-mail,” Victoria Vesna, 1998
F-e-mail & Beyond is part of an evolving network of women working
on top of the Grid, in ...
“She Loves it, She Loves it Not,” Christine Tamblyn, 1993
“Mistaken Identities,” Christine Tamblyn, 1996
“Mauve Desert,” Adriene Jenik, 1997
“Brandon,” Shu Lea Cheang, 1998
“Mythic Hybrid,” Prema Murthy, 2002
“Mythic Hybrid,” Prema Murthy, 2002
Lynn Hershman Leeson
Lynn Hershman Leeson
    – performance
“Dante Hotel,” Lynn Hershman Leeson, 1972.
“Roberta’s Construction Chart #1,” Lynn Hershman Leeson, 1974.
“Roberta Meeting Blaine,” Lynn Hershman Leeson, 1975.
Lynn Hershman Leeson
     – performance
  – interactive media
“Lorna,” Lynn Hershman Leeson, interactive artwork, 1979-1984.
“Lorna,” Lynn Hershman Leeson, interactive artwork, 1979-1984.
“Deep Contact: The First Interactive Sexual Fantasy Videodisc,”
   Lynn Hershman Leeson, interactive artwork, 1979-1984.
“A Room of One’s Own (Echo Narcissus),” Lynn Hershman Leeson,
                interactive artwork, 1990-1993.
“This device, an alliance between the phonograph and the
photograph, was designed so that a single spectator could peep
th...
Lynn Hershman Leeson
     – performance
  – interactive media
     – photography
“Phantom Limb Photographs,” Lynn Hershman Leeson, 1980-
                        1990.
Lynn Hershman Leeson
     – performance
  – interactive media
     – photography
        – video
Lynn Hershman Leeson
     – performance
  – interactive media
     – photography
         – video
     – feature films
“Binge,” part 2 of a 3-part series titled “Electronic Diary,” Lynn
                Hershman Leeson, video, 1987.
“Desire Inc.,” Lynn Hershman Leeson, video, 1990.
“Seduction of a Cyborg,” Lynn Hershman Leeson, video, 1994.
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466 feminist new_media

  1. 1. Feminist counter cinema – does this film address me as a woman? – does it employ some sort of re-vision? Strategies – disjunction between image and voice – new kinds of narrative space – creating a subjective space – new forms of address – redefining public and private – creating a new language of desire
  2. 2. “Maedchen in Uniform,” Leontine Sagan, 1931
  3. 3. “Jeanne Dielman,” Chanal Akerman, 1974
  4. 4. “Born in Flames,” Lizzie Borden, 1983
  5. 5. “A Question of Silence,” Marlene Gorris, 1981
  6. 6. Feminist video art, 1970s – process-oriented work – documentary – performance – experimental narrative
  7. 7. “Joan Jonas,” Vertical Roll, 1972
  8. 8. “All Vision,” an electro/opto/mechanical environment, Steina Vasluka, 1976
  9. 9. Feminist video art, 1980s + 1990s – video essays – personal diary, confessional pieces – installation – experimental narrative
  10. 10. “Trick or Drink,” Vanalyn Green, 1985
  11. 11. Feminist Net-based art and interactive media art 1990s
  12. 12. VNS Matrix. 1991-1997
  13. 13. VNS Matrix, Cybermanifesto for the 21st Century, 1991
  14. 14. VNS Matrix: Bitch Mutant Manifesto
  15. 15. OBN: Old Boys Network, 1997-2003
  16. 16. “F-e-mail,” Victoria Vesna, 1998 F-e-mail & Beyond is part of an evolving network of women working on top of the Grid, in the Belly of the Beast...Women artists working with this network are serving as role models helping debunk the mythology which is alienating women from technology.
  17. 17. “She Loves it, She Loves it Not,” Christine Tamblyn, 1993
  18. 18. “Mistaken Identities,” Christine Tamblyn, 1996
  19. 19. “Mauve Desert,” Adriene Jenik, 1997
  20. 20. “Brandon,” Shu Lea Cheang, 1998
  21. 21. “Mythic Hybrid,” Prema Murthy, 2002
  22. 22. “Mythic Hybrid,” Prema Murthy, 2002
  23. 23. Lynn Hershman Leeson
  24. 24. Lynn Hershman Leeson – performance
  25. 25. “Dante Hotel,” Lynn Hershman Leeson, 1972.
  26. 26. “Roberta’s Construction Chart #1,” Lynn Hershman Leeson, 1974.
  27. 27. “Roberta Meeting Blaine,” Lynn Hershman Leeson, 1975.
  28. 28. Lynn Hershman Leeson – performance – interactive media
  29. 29. “Lorna,” Lynn Hershman Leeson, interactive artwork, 1979-1984.
  30. 30. “Lorna,” Lynn Hershman Leeson, interactive artwork, 1979-1984.
  31. 31. “Deep Contact: The First Interactive Sexual Fantasy Videodisc,” Lynn Hershman Leeson, interactive artwork, 1979-1984.
  32. 32. “A Room of One’s Own (Echo Narcissus),” Lynn Hershman Leeson, interactive artwork, 1990-1993.
  33. 33. “This device, an alliance between the phonograph and the photograph, was designed so that a single spectator could peep through an eyehole and see film loops. Known as the peep show, spectators took pleasure in the process of voyeuristically viewing seductive images of women. The gun/camera has had a direct relationship not only on this history of film and the eroticization of female imagery in photography and phonography, but also in pornography. Women are taught to be looked at. In contemporary society this is interpreted as a manifestation of desire. Yet such objectifying observation triggers ideas of ownership and consumption. So with the association of gun to camera to trigger, the representation of women is linked quite literally to lethal weapons. If cinema is a social technology, then the captivity of woman as subject and subject-victim through this medium situates women into precoded identities. Their submissive position is implicated into the construction of fantasy, and is positioned (ob)scenely….”
  34. 34. Lynn Hershman Leeson – performance – interactive media – photography
  35. 35. “Phantom Limb Photographs,” Lynn Hershman Leeson, 1980- 1990.
  36. 36. Lynn Hershman Leeson – performance – interactive media – photography – video
  37. 37. Lynn Hershman Leeson – performance – interactive media – photography – video – feature films
  38. 38. “Binge,” part 2 of a 3-part series titled “Electronic Diary,” Lynn Hershman Leeson, video, 1987.
  39. 39. “Desire Inc.,” Lynn Hershman Leeson, video, 1990.
  40. 40. “Seduction of a Cyborg,” Lynn Hershman Leeson, video, 1994.
  • BrendaVazquez60

    Nov. 22, 2021
  • nilrep

    Aug. 22, 2017

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