-----Original Message----- 

	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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