Raised Fists: Politics, Technology, and Embodiment in 1970s French Feminist Video Collectives

Murray, Ros

doi:10.1215/02705346-3454441

Cited by 5 publications

(2 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Order By: Relevance

“… 11. On feminist film and video collectives in different geocultural contexts see among others: Jeanjean (2011) and Murray (2016) for the French context; for collectives in the UK, Dickinson (1999) and the webpage about women’s video collectives on the BFI’s website at www.screenonline.org.uk/film/id/824000/; on Italian activist cinema, see Bonifacio et al (1982), Bruno and Nadotti (1988) and Filippelli (2015); on film and video collectives in the USA, see Rich (2013) and Warren (2008). …”

mentioning

confidence: 99%

Mobilizing women+’s art: bildwechsel, a global archive

Maule

2016

European Journal of Women's Studies

View full text Add to dashboard Cite

bildwechsel ( http://bildwechsel.org ) is one of the most prolific and longstanding video collectives established in Europe within the framework of the women’s movement. Founded in 1979 by students of the Hamburg College of Fine Arts, in 1986 the group became an umbrella organization with activities and agents spread all over Europe and the world sharing a common infrastructure. The purpose of bildwechsel (‘image change’) is to strengthen women’s presence in the audiovisual media and to advance feminist and queer art. The group has been pursuing its mandate initially through local workshops and exhibitions, then through archival practices and programming activities promoted on the organization’s website. This article examines bildwechsel as an example of women’s ability to maintain a niche presence within the European and the world art scene since the late 1970s via grassroots globalized practices, from within a theoretical framework drawing on transnational feminism and new media theory.

show abstract

mentioning

confidence: 99%

Mobilizing women+’s art: bildwechsel, a global archive

Maule

2016

European Journal of Women's Studies

View full text Add to dashboard Cite

show abstract

“…Maso et Miso vont en bateau is a work by the collective "Les Insoumuses" (Jeanjean 2011;Murray 2016;) that embodies the transition from militant cinema to essay film, in which feminist activism begins to manipulate documentary materials to generate critical thinking. Although it cannot be considered an audiovisual thinking process, it already instrumentalises some of its elements.…”

Section: Beginning and Exceptionmentioning

confidence: 99%

Women’s Essay Films in Francophone Europe. Exploring the Female Audiovisual Thinking Process

Ibáñez

2023

Quarterly Review of Film and Video

View full text Add to dashboard Cite

This article aims to analyse women's essay films in Francophone Europe, exploring the presence of a gendered audiovisual thinking process, and considering both the formal aspect and the thematic dimension. The research allows the characterisation of a female audiovisual thinking process determined by both self-representation and the vindication of women filmmakers as creators of images and women's topics through the reflection on female alterities. First, the research analyses the enunciative devices used and their evolution-the (self-)portrait, the letter, the diary, the autobiography, autofiction and dialogue-to create essay films whose audiovisual thinking processes are mainly generated within the images through the mise-en-scène, and through the juxtaposition between visual image and sound image. Second, the study analyses the topics addressed, which mostly revolve around gender issues and trace a path that goes from gaze to alterity, intersubjectivity, and sisterhood. Women's gaze makes possible the reflection on female alterities in order to confront or identify with them, leading to the construction of intersubjective spaces for reflection that become artistic practices of sisterhood. Finally, the study concludes women have been delayed in reaching the position of the essayist as a manipulator of images, due to the need to vindicate the figure of the woman filmmaker understood as a creator of images.

show abstract

Engendering the Global Market: Women’s Cinema as a Creative Industry

Maule

2016

Digital Platforms and Feminist Film Discourse

View full text Add to dashboard Cite

Raised Fists: Politics, Technology, and Embodiment in 1970s French Feminist Video Collectives

Cited by 5 publications

References 1 publication

Mobilizing women+’s art: bildwechsel, a global archive

Mobilizing women+’s art: bildwechsel, a global archive

Women’s Essay Films in Francophone Europe. Exploring the Female Audiovisual Thinking Process

Engendering the Global Market: Women’s Cinema as a Creative Industry

Contact Info

Product

Resources

About