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Seeing for ourselves : women working with film.

Author: Margaret Williams; Fiz Oliver; Arts Council of Great Britain.; Channel Four (Great Britain); Arbor International.
Publisher: [Great Britain] : An Arbor International production for Channel 4 & Arts Council of Great Britain, 1983.
Edition/Format:   VHS video : VHS tape   Visual material : English
Database:WorldCat
Summary:
The work of four women audio-visual artists - Tina Keane (video), Annabel Nicolson (film/performance work), Joanna Davis and Lis Rhodes (both film) - is juxtaposed in the context of the work of Circles, a women's distribution, exhibition and research group. The group emphasises screenings with discussion involving the filmmakers and the audience. On the issue of women's exclusion from mainstream production and the  Read more...
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Named Person: Joanna Davis; Tina Keane; Annabel Nicolson; Lis Rhodes; Alice Guy; Germaine Dulac
Material Type: Videorecording
Document Type: Visual material
All Authors / Contributors: Margaret Williams; Fiz Oliver; Arts Council of Great Britain.; Channel Four (Great Britain); Arbor International.
OCLC Number: 225705494
Credits: Producer, Fiz Oliver ; director, Margaret Williams.
Description: 1 videocassette (VHS) (56 min.) : sd., col. with b&w sequences ; 1/2 in.

Abstract:

The work of four women audio-visual artists - Tina Keane (video), Annabel Nicolson (film/performance work), Joanna Davis and Lis Rhodes (both film) - is juxtaposed in the context of the work of Circles, a women's distribution, exhibition and research group. The group emphasises screenings with discussion involving the filmmakers and the audience. On the issue of women's exclusion from mainstream production and the questions of gender, culture and society the approach is allusive rather than analytic or polemic. Works of two early women filmmakers - Alice Guy's A House Divided (1913) and Germaine Dulac's The Smiling Madame Beudet (1922) are presented as unacknowledged or misrepresented. The effect of the contemporary filmmakers' discussion of their aims and methods is open-ended and inconclusive but suggestive of what a women's cinema can mean.

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