MATERIALS, STRUCTURES, FORMS: EXPERIMENTAL FILMS MADE BY FEMALE DIRECTORS
Curated by Sezgin Boynik
As one of the filmmakers whose film is to be screened in this selection, Annabel Nicolson, wrote: “We weren’t making films with a social, documentary content about women’s experience. We were very sympathetic to it, but we weren’t actually doing that. We were working in a more abstract way and exploring forms, but there wasn’t recognizable female content.”
All experimental films included in this selection are from late sixties to mid-eighties and made by female directors.
They are experimental films, largely known as structural and materialist films, calling to question the ideological, formal and technological aspects of what we understand as cinema.
These radical films by questioning the status of cinema also re-defined the political and institutional impact of moving-image.
By approaching film as a form of research against given conditions, the experimental-abstract filmmaking enabled the social emancipation through artistic practice.
One of the most exciting outcomes of the activist side of the structural filmmaking has been the introduction of experimental films into wider segments of society, especially connecting them to struggles of feminist groups. It is our aim, with this programme, to present and discuss films made by female directors involved in structural-materialist tendencies. We want to show films which are not recognisably gendered through certain content; i.e. motherhood, body, desire, or emotions. Following this, we want to show films by female directors, which do not reduce the question of gender to certain specific identities of the female. By refusing to engage with feminism through references on the “feminine mystique” the structural-materialist filmmakers asked more profound questions regarding the structural oppression of women.
Most of what is today appreciated as moving-image making in contemporary art emerged from these radical film experiments.
By showing rare films made in London Film Co-Op, in Sweden, Yugoslavia and Germany we want to introduce this strong currency in experimental film-making and to show the actuality of this position in a contemporary art context.
THE FULL LIST OF FILMS