Barbara Hammer’s Nitrate Kisses, Exchange Bristol, 21 August 2019

Nitrate Kisses questions how history is recorded and encourages the viewer, gay or straight, to save scraps, letters, books, records, and snapshots in order to preserve our ‘ordinary’ lives as history.” – Barbara Hammer

Barbara Hammer is a legend and pioneer of things queer and experimental, yet her films are barely accessible. Hammer died in March this year and this screening of her best-known work Nitrate Kisses will be an ode, a celebration, and an opportunity to unite as a community, sharing thoughts, ideas, and issues. This event promotes queer visibility and confronts film history’s tendency to exclude the marginalised.

Working together with animator and filmmaker Vicky Smith, member of Bristol Experimental and Expanded Film collective (BEEF), we will hold a 16mm projection of Nitrate Kisses, and screen a few short films from BEEF members (to be announced), followed by a panel discussion and time for audience Q&A.

This event has just successfully reached its Kickstarter funding goal!

Tickets available from Eventbrite.

Watch a clip and find out more on the event’s Facebook page.

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Frankfurt Women’s Film Days, 26 November – 1 December 2019

Save the date for the second edition of
REMAKE: Frankfurt Women’s Film Days
Viewing History, Herstory in the Cinema

Kinothek Asta Nielsen, 26 November – 1 December 2019

Men’s history – the history of white, Western men – has blocked women’s access to their own history for centuries. This only began to change in the 20th century. In order for it to happen, fundamental criticism and an expansion of the established way of looking at the approach to and content of history and historical research were necessary.      

New fields relating to the private, the intimate and the body have opened up as women search for their history. The sharp distinction between the human as a historical being and the animal as a natural one is also questioned. (Elisabeth de Fontenay, Le Silence des bêtes, la philosophie à l’épreuve de l’animalité); we will screen Pokot, directed by Agniesza Holland, 2017 in our programme.)

Theatrical film, the mass culture of the 20th century, displays an affinity for the newly discovered areas of history in which women had their place and their living environment. The cinema was full of stories of private life, of love, of gender relations; film established awareness of the body and – at least in silent films – democracy among humans, animals and the tangible world. At REMAKE, we will screen the Swedish film Thora van Deken (John W. Brunius, 1920) and John M. Stahl’s The Child Thou Gavest Me (1921). In both films, the look back at history plays an illuminative role: the male gaze breaks off, and awareness of women’s reality becomes possible.

When the women’s movement discovered film for itself in the 60s and 70s, theoreticians saw their task as uncovering this affinity once again. They began with radical criticism of the cinematic forms in which male dominance reproduced itself, the narrative and dramatic forms that had existed since ancient epics and Greek tragedy and were repeated in film. Teresa de Lauretis established a connection between narrative forms and the mental formation of gender roles. In “Desire in Narrative”, she advocated, among other things, that classical Hollywood films be remade to call forth a different view of history. In our programme, this aspect will be represented in particular by two Westerns – the masculine genre par excellence –  that were made by women filmmakers.

Amateur films, or films that work with home movie material, are an important part of our programme because they contain not fictional but documentary footage of private life. They comprise a view from below on societal and political history (Absent Present, Angelika Levi 2010; Ums freiwerden hätte es ja gehen sollen, a film by actress and author Elfriede Irrall about her mother, 1977)

But the break with “male cinema”, the standard phrase in the 70s, also opens awareness of our affinity with others who have been denied their own history: the suppressed classes and ethnicities, the old and new slaves. It becomes possible to feel closer to the lives of ‘others’ depicted in films than to the men who provide a position for their women in society. Not least with a view to the centrality of Hollywood in our cinema past and present, we will screen two films by Julie Dash: Illusions and Daughters of the Dust. The latter explicitly thematises a differing view of history.

Films are relevant for the Frankfurt Women’s Film Days when they address the doubly hidden role of women in suppressed German and European history. Das falsche Wort (Melanie Spitta and Kathrin Seybold) and Beneath the Olive Tree (Stavroula Tosca) are two such films that we will screen at REMAKE.

For more information please go to http://www.remake-festival.de/

Doing Women’s Film and Television History Conference V: Call for Papers

Doing Women’s Film and Television History Conference V: Forming Histories/Histories in Formation

20-22 May, 2020, Maynooth University, Maynooth, Co. Kildare, Ireland

Keynote: Kasandra O’Connell, Irish Film Archive
Further Keynotes: TBC

The fifth biennial Doing Women’s Film & Television History conference invites proposals from researchers and practitioners engaged in the exploration, uncovering, archiving and dissemination of women’s roles in film and television, as well as wider media, both in the past and today.

The theme of this conference – ‘Forming Histories/ Histories in Formation’ – aims to foreground issues pertaining to the production, curation and archiving of women’s histories in film and television as well as the methods for, and approaches to, producing and shaping these histories as they form. More particularly, much can be learned from the diversity of practices, experiences and narratives of women’s film and television history as they pertain to:  national, transnational, world and global histories; neglected, peripheral or hidden histories; organisations such as museums, archives and universities; collectives, groups and movements such as #MeToo; local communities and community media; emergent forms and platforms; and historical approaches to women’s reception of film and television as well as historicising current practices and experiences of reception, fandom and consumption.

This three-day conference casts the net wide so that it can capture a range of experiences, practices, industries, nationalities and voices that are situated in relation to women and their histories. The conference provides a platform for those working in and researching film, television and media more generally as well as those invested in the production of these histories and narratives of the past and as they materialise. 

We invite papers that can provide added richness to the theme of ‘Women in Film & Television,’ and are, in addition, especially interested in the following areas:

  • International and comparative perspectives on women in film and television
  • Histories of women’s creative practice, production and technical work and film/cinema and television work more generally in various national, regional, or local contexts; transnational film and television; migration and diasporas
  • Approaches to histories of women’s indigenous production, including Third Cinema and grassroots film and television production
  • Representations of women in historical film and television
  • Female audiences, reception, fandom of film and television
  • Considerations of methodological and theoretical approaches to the study of women in film and television and their audiences
  • Archival research methods and approaches including feminist archiving practices
  • Use of recently established or historically neglected women’s media archives
  • Artefacts and ephemera in women’s archives: moving image, photographic and digital media, scripts, merchandise, etc. 
  • Considerations of how gender intersects with race, class, ethnicity, in relation to film and television production, reception or representation
  • Revisiting production and labour through the lens of #MeToo and #TimesUp, including historical formations of, and historicising, such movements
  • Changing meanings of women and womanhood as reflected and shaped by the interventions of women in film and television as producers, critics, and campaigners.
  • Teaching women’s film and television history; feminist pedagogies; the politics of education and training; women’s experiences of moving from education to employment in film and television

We welcome papers on subjects outside of these areas and that enhance the interpretations and meanings of ‘Doing Women’s Film & Television History.’

Please submit proposals of 250 words along with the paper’s title and a 50-word biography. Presentations should be no longer than 20 minutes, including clips and images. We welcome pre-constituted panels of three to four presenters (with panel title and abstract of 150 words), proposals for roundtables or workshops and presentations from researchers, practitioners, creatives and industry professionals. Deadline for proposals Oct 11th 2019. Email: dwfthv@gmail.com

We are pleased to make available a number of bursaries for Irish and international postgraduate students, early career researchers (within one-year of permanent contract) and those on part-time or zero-hour contracts. These will help support travel and accommodation to the conference. In order to apply, please submit to dwfthv@gmail.com a 250-word abstract along with a 300-word statement that includes: an indication of the relevance of your paper to the conference themes; reference to the intended output of the research; details of your current employment/student status. The deadline is Oct 11th 2019 and please use “Bursary application” in the subject line.

Hosted by
Department of Media Studies, Maynooth University
Women’s Film and Television History Network- UK/Ireland

Organising and programming committee
Mary Immaculate College, Limerick
Maynooth University
Queen’s University Belfast
University College Cork
University College Dublin

‘Reclaiming the Screen: Addressing Overlooked Women in Film and Television’ 14th June 2019.

The following event and call for papers may be of interest to WFTHN members:

Call for Papers
‘Reclaiming the Screen: Addressing Overlooked Women in Film and Television’
Postgraduate Conference – Friday 14th June 2019.
Cinema and Television History Institute (CATHI), De Montfort University, Leicester.

Keynote speaker: Dr. Shelley Cobb (Associate Professor of Film, University of Southampton).

£5 conference free: to be paid in cash upon registration

MA travel bursaries available – email cath.postgrad@gmail.com for more information.

‘[T]he tragedy of film history is that it’s fabricated, falsified, by the very people who make film history’ – Louise Brooks

De Montfort University’s Cinema and Television History Institute (CATHI) is pleased to invite Postgraduates and Early Career Researchers to its eighth annual postgraduate conference, focusing on overlooked women in the film, television and media industries. This conference seeks to offer a platform uncovering, challenging, and drawing attention to issues relating to overlooked self-identifying women across all areas of women’s film and television history, culture, and production. There is a continued lack of gender equality within the film industry, exemplified most recently by the absence of any female nominees within the 2019 Academy Awards’ Best Director category. This conference aims to offer a platform to the voices of underrepresented, unheard and undervalued women. This conference is also an opportunity to highlight examples of women’s autonomy and agency within the television and film industries, from any era and any part of the globe.

In hosting this conference, we hope to look backwards, seeking and uncovering forgotten women, both on screen and behind the camera. In looking backwards, we aim to also push forwards in relation to challenging patriarchal structures of industrial and cultural misogyny. We welcome a broad range of proposals from a diverse range of voices, looking at the interconnectedness of past, present and future issues for female-identifying individuals on and off-screen.

The event will end with a roundtable focused on improving and challenging issues that the conference presents.

Relevant topics include, but are not limited to:

The gendering of industry roles.
Ageing woman and visibility on and off-screen.
Women in film and television academia.
Women in the film industry.
Representations of trans women, behind and in front of the camera.
The intersections of class, race, sexuality, and able-bodiedness of women.
The politics of the gaze, and challenges to how we look at women on screen.
Coming of age female representation.
Underrepresentation of female labour.
Examples of transgressive, monstrous and subversive femininities on screen.
Forgotten figures.
The #MeToo movement.
Proposals for twenty-minute presentations (both traditional and non) should include the title of the presentation, a 250-word abstract, and a brief biographical statement. Proposals should be submitted to cath.postgrad@gmail.com by Friday 12th April 2019.

Applicants will be notified in late April/early May.

Twitter: @CATHpostgrad | #CATHCON19

Persistence of Vision Programme: 28th June 2019: Goldsmiths, University of London

Persistence of Vision: Women Reframing Animation
Friday 28th June 2019
Goldsmiths, University of London
Keynote speaker: Caroline Ruddell, Brunel University

A one-day symposium, supported by MeCCSA Women’s Network and hosted by the Department of Media, Communications and Cultural Studies at Goldsmiths, to be held on Friday 28th June.

The symposium programme is now available here.

Follow #povgold and @ceiren_bell on Twitter and Persistence of Vision on Facebook : groups/persistenceofvision.gold  and Instagram: @persistence_of_vision

Registration can be found via the Facebook page and for further details contact Ceiren Bell at c.bell@gold.ac.uk.

Animation is a medium like no other. It is accessible in ways other forms of film making are not; it breaks down cultural, social and technical boundaries and as such has a distinctive potential as a tool for education, activism and engagement. It has the power to imagine all sorts of possibilities, and as such has a unique ability to illuminate and realise radical ideas and concepts – particularly for those cultural creators traditionally excluded from creative systems of power.

This symposium provides an inclusive space for academics, practitioners and students to investigate what it is about animation that attracts and gives space to these voices, while also asking what might be done to amplify them at industry level. It will be an opportunity to explore the subversive nature of animation and consider ways that this medium, in various forms, can be used as a critical resource to communicate, engage and engender social change.

This event is inclusive of all who identify as women – trans, non-binary and cis – and we value all voices, experiences and participants regardless of their academic standing, educational level, ethnicity, class, (dis)abilities, or employment status. We are unable to provide childcare facilities, but children are welcome to attend the conference under the supervision and responsibility of their parent(s).

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