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From: Secret Cinema [mailto:[log in to unmask]]
Sent: Fri 23/01/2004 07:41
To: Secret Cinema
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Subject: [secretcinema] A political feeling, I hope so: 30 Jan-1 Feb 2004
A POLITICAL FEELING, I HOPE SO
at CUBITT Gallery, 30-31 January & 1 February 2004
For three days the Cubitt gallery will become a feminist autonomous place
(that is, we will commit to that idea).
Friday 30th January 2004
6.30pm - 9.30pm
Introduction to A political feeling, I hope so, a newly commissioned project
by Emma Hedditch; an optimistic reflection of feminist politics, turned over
by interpersonal relations, and the always absolutely, only social selves.
We will launch part one of a two-part publication, with living music by
Lesbo Pig (Irene Revell, Ros Murray and Anna Dahllöv), set next to a
separatist curtain - a homemade fantasy of fake differentiation - made from
duvet covers in collaboration with artist Henriette Heise.
Saturday 31st January 2004
2pm - 3.30pm: Open meeting and info exchange.
4pm: CARRY GREENHAM HOME
Biban Kidron and Amanda Richardson, 1983, UK, 66mins, 16mm
The film begins on the 12th of December 1982, the day that 30,000 women went
to RAF Greenham Common, Newbury, to join the women's peace camp. The camp
was established in 1981 to protest against the intended housing of
ninety-six Cruise missiles at the base.
Sunday 1st February 2004
2pm - 3.30pm: Open meeting and info exchange.
4pm:
A SUFFRAGETTE INSPITE OF HIMSELF
Bannister Merwin, Edison, UK, 1912/13 ca, 10mins, 16mm
'How a respectable British householder, bitterly opposed to women's
suffrage, becomes apparently a violent advocate of the causeS' (The
Bioscope, January 1913). The film refers to suffragette actions such as
throwing stones at windows and chaining themselves to public buildings. The
sub-textual heroine of the film is the maid, a convinced suffragette, amused
by the problems of her employer.'
WHAT TO PUT ON JACK SMITH'S MEMORIAL CHRISTMAS TREE?
Stefan Hayn, Germany, 1994, 7mins, 16mm
'What is it about? - About collecting cocks. And why Jack Smith? Because he
was opposing the cultural industry' (Stefan Hayn). When Hayn was working on
the film he was also working on a long, furious paper against the ghetto of
gay and lesbian film festivals.
WHO HANGS THE LAUNDRY? WASHING; WAR AND ELECTRICITY IN BEIRUT
Hrafnhildur Gunnarsdottir and Tina Naccache, Iceland/Lebanon, 2001, 20mins,
video
Plagued by the lack of water and electricity as a result of war, the
Lebanese activist Tina Naccache describes the gymnastics of doing the
laundry and managing electricity cuts.
FÜR FRAUEN 1. KAPITEL (FOR WOMEN CHAPTER 1)
Cristina Perincioli, camera: Gisela Tuchtenhagen, production: Berlin
filmschool DFFB Germany, 1971, 36mins, 16mm (English subtitles).
For Women Chapter 1, shows a model situation of the coming solidarity of a
group of women working in a supermarket. They find out a male co-worker is
paid more money to supervise their work and decide to strike. The women who
played these roles acted out their own experiences, and collaborated on the
script. 'We don't need liberal filmmakers who take the issue of
emancipation. We claim the means of production in our own hands.'
A reading from the film magazine LICHTBILDBÜHNE (Germany, 1912), about a
'Modern Women's movement in England' The article describes 'the ugly
movement', the 'fanaticism' of the suffragettes in England, who 'attack the
deeply hated male sex and especially the government who opposes them'. They
planned to cinematically register, with the help of 'female
camera-operators', all the incidents of police violence during the
suffragettes' demonstrations.
'When I started working with the suffragette films, I became much more
interested in film as a medium for social struggle. The films represent a
perspective back to history, quite present with their early cinematic
directness, and far away with their notion of what women should be allowed
to do and what not. The spectacle and the almost grotesque vision of masses
of women running through the streets was a scandal at the time.
As a public space, cinema could really work as a communication space for
communities and debates (which would mean experiencing art together, not
with the dispersed, mostly isolated glance at exhibitions and gallery
spaces). At the same time, my questions are about which communities keep
their definition and politics open and moving or those that begin to close
and use (identity) politics as an end-point. The film programme questions
the ideas and contexts of feminist activism, of social and
identity-politics-labelling and the distance of historical film material.'
Madeleine Bernstorff
The film programme is presented by writer and curator Madeleine Bernstorff
with Emma Hedditch.
CUBITT
Gallery and Studios
8 Angel Mews
London N1 9HH
T +44 (0)20 7278 8226
F +44 (0)20 7278 2544
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