References

Maddy here

Throughout the film we used collected film footage and still images. The film clips we chose were from Charlie’s Angels (2000), The 40 Year Old Virgin (2005), and Transformers (2007); all of which work to highlight how the female body if often shot in the horizontal format.

bodypan

The quotes used for the ‘feminist film scholar’ interview were take from Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ essay. The three we used were:

“Going far beyond highlighting a woman’s to-be-looked-at-ness, cinema builds the way she is to be looked at into spectacle itself.”

“Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order.”

“The alternative is the thrill that comes from leaving the past behind without rejecting it, transcending outworn or oppressive forms, or daring to break with normal pleasurable expectations in order to conceive a new language of desire.”

The still images of the famous female figures photographed vertically included; female directors Tracey Moffatt, Kathryn Bigelow, Maya Deren, and Chantal Akerman, and the female musicians used were Patti Smith, Grace Jones, and Nina Simone.

nina-simone

Miriam here

We also wanted to pay homage to some of the great radical filmmaking of the 1960s and 1970s so the background imageswe used for the title cards (often just textured film grain) all came from La hora de los hornos: Notas y testimonios sobre el neocolonialismo, la violencia y la liberación (1968). It’s one of my favourite films from the New Latin American Cinema movement and has incredibly powerful audio visual juxtaposition

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