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feminist film collectives
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1
Journal Article
Camera Obscura (2016) 31 (3 (93)): 153–163.
Published: 01 December 2016
...
series, twelve short and mid-length documentaries, one short and
one mid-length fiction film, and two animated films.
As suggested by the formal strategies and thematic con-
cerns of the works by Ivalu, Cousineau, and other Nunavut-based
feminist filmmakers, the collective has set itself...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 149–159.
Published: 01 September 2022
...Shana MacDonald Abstract This article looks at the work of the Drunk Feminist Film (DFF) collective from Toronto, Canada. DFF screenings offer interactive in‐person and online events that combine watching popular Hollywood films with simultaneous live commentary, audience participation, and hashtag...
FIGURES
Journal Article
Camera Obscura (2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
... of women’s cinema at present, visible in the rise of the Berlin School, the development of women-oriented production collectives, and the resurgence of feminist organizing on behalf of gender parity in the contemporary German film industry. Copyright © 2018 Camera Obscura 2018 This content is made...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 147–155.
Published: 01 December 2018
... film authorship, namely: feminist structures (WIFTG), demands for a quota system (PQF), and a grassroots feminist mentoring collective of film school graduates (ITW). Copyright © 2018 Camera Obscura 2018 gender parity German film industry quota system film collectives Verband der...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
...Elizabeth Coffman; Erica Stein New Day Films was formed in 1972 as a feminist media collective to distribute films addressing gender issues. Forty years later, New Day boasts close to two hundred members and yearly distribution profits of $1 million. This article uses New Day's history...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 165–173.
Published: 01 May 2016
...
Collectivity in (StopMotion • 167
of our work.”8 If part of the feminist project is to obviate societal
norms regarding gender and the body, Johnson and company are
in the cultural vanguard. The protagonists of recent films and con-
cepts Johnson has pitched or discussed include a woman suffering...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... covers the growth of the organization since the 1970s, the close connection between feminist film theory and independent filmmaking in the 1980s, changes in the culture of documentary, gender inequities in film directing and in financing of films about women, the impact of digital culture on educational...
Journal Article
Camera Obscura (2023) 38 (1 (112)): 81–101.
Published: 01 May 2023
... of the time theorized as reproductive labor, works in the Projected Art series shift attention to the reproductive labor of caring for, curating, collecting, and consuming visual art and film. I argue that Varian's exhibitions as a whole complicate our understanding of process‐oriented work during the postwar...
FIGURES
Image
/10.1215_02705346-8838577/2/s_cob8838577figure1.png?Expires=2147483647&Signature=k-tGfpBudlxvV1dbJmHqzg-Qc01jgqv20-hgWUaWe6RZSoBHvorBYxm34U9mFdsxXL-MysbVfTjdCLUO1~qSCnACBIqiqo0CjzLrI9pJe7x-1reQ2yRV~Le2Do3JUIZyo9yuako6YtxXzWkbZP2XTGPDk~AgNJO8H7EWTbhMX0Mc~FzfJWKOYT8gEcOEWP0h4x2UIxMqvXysGEeFY-Rug5a85Ha~tAJqz2B~4nHOPdb0lKllDXhpqTXbbVZBVQVkWCbb9As6QGQUYSLm2b4KiHHRVNZLeqgmR9ulbq~AZodWkJ4mfnzGfdo3NjFpS4wAJ2duWRjcGmmNcM9~dgyv4Q__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
in Agnès Varda and Le Collectif 50/50 en 2020: Power and Protest at the Cannes Film Festival
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 May 2021
Figure 1. Agnès Varda presents speech with Cate Blanchett at the 12 May 2018 Cannes Film Festival demonstration. She stands beside director Céline Sciamma and with members of the French 50/50 en 2020 collective. Clarence Tsui, “French Film Legend Agnès Varda on Faces Places , Her Feminist Vision
More
Journal Article
Camera Obscura (1979) 1-2 (3-1 (3-4)): 5–13.
Published: 01 May 1979
... Copyright © 1979 by Camera Obscura 1979 Chronology
The Camera Obscura Collective
Our involvement with feminist film criticism began with our work on
Women and Film, a magazine first published in Los Angeles by Siew-
Hwa Beh and Saunie Salyer.
In 1973 Women and Film moved...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
..., Radcliffe Institute, Harvard University,
Cambridge, MA.
17. Conference for Feminist Film and Video Organizations follow-up
discussion, 1 April 1975, New York, WMM Papers. Biren was a
founding member of the Furies Collective in Washington, DC.
Kristen Fallica is completing her...
Journal Article
Camera Obscura (1989) 7 (2-3 (20-21)): 28–39.
Published: 01 December 1989
... as in magazines such as Noi donne and Minerva.lO
From this background one can see that, when speaking of Italian
feminist criticism on film, the situation is not entirely comparable with
that of American “feminist film theory.” There is, in the first place,
the political and collective dimension...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 1–25.
Published: 01 May 2006
... emerged as a collective feminist response to a
paradoxical tension between the presence of the image of women
on screen in mainstream film and the absence of women in both
the fields of mainstream film production and the emerging dis-
ciplinary production of film theory. Issues of the representation...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 145–151.
Published: 01 December 2006
...-
anfesto,” which turned up in the uncataloged archives of Women
Make Movies: “As feminists working collectively in film and video
we see our media as an ongoing process both in terms of the way
it is made and the way it is distributed and shown. . . . We do...
Journal Article
Camera Obscura (2003) 18 (3 (54)): 71–97.
Published: 01 December 2003
...”
Feminist Collaborative Video
Feminist video does collectivity exceedingly well.1 Certainly other
politicized cultural movements and individuals work through this
method, and, of course, feminists also produce work in collabo-
ration in film and other media (as Julia Lesage testifies above).
However...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 110–127.
Published: 01 May 1981
... for more extensive work on these
films, to be taken up by ourselves and our readers in subsequent issues.
fie Song ofthe Shirt (Susan Clayton and Jonathan Curling, 1979)
Feminist History and The Song Oftke Skirt*
Susan Clayton andJonathan Curling
In this article we would...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 93–121.
Published: 01 May 2016
... but rather emerges, so to speak, through the lines, much like the video image itself. Ros Murray is a Leverhulme Early Career Research Fellow in the film studies department at Queen Mary University of London. Her work focuses on 1970s feminist video collectives. She has published on the French avant...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 5–33.
Published: 01 December 2016
...,
with the National Film Board of Canada’s (NFB) Challenge for
Change program in the 1960s. Initially a kind of ethnographic
film project focusing on low-income people, the program became
Second-Wave Feminist Video Collectives in Canada • 13
participatory quite by accident, when...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 197–208.
Published: 01 May 2007
... Project (working title). I will spend this com-
ing sabbatical year tracking down and filming the twenty women
who (along with me) began meeting to create a collective feminist
magazine or school in 1975. My feature-length experimental docu-
mentary will describe their work today and the roiling...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 1–29.
Published: 01 September 2023
.... These contradictions reveal a strategic manipulation of their gender identity to obtain the vote at all costs. Newsreel making provided the feminists an avenue for political claimsmaking beyond electoral politics. These filmed accounts of their actions give the spectator a sense of being present at the event, which...
FIGURES
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