“Experimental cinema, video art, and new media art have always been fields in which the presence of women has proven significant. It took Feminist Film Theory to make us clearly understand that experimental audio-visual practices represent a privileged space for female action where, in the absence of the economic constraints and censorship typical of the cinema industry, greater freedom for research and production has been allowed. It is in fact in the porous area where independent and experimental cinema encounter art practices that women have managed to move the boundaries of (self-)representation and build an active laboratory to experiment and explore their subjectivities. We can’t also forget that, between the end of the 1960s and the beginning of the 1970s, many of the female presences linked to electronic art began, with great vigour, to carry out their creative activity in parallel with the demands promoted by the second wave of feminism. Nonetheless, feminist momentum and perspective, both in a creative and theoretical sense, are just some of the threads that, over the years, help us to read and interpret an experimental female audiovisual production that has been growing, becoming enriched and diversified thanks to the evolution of technologies and the hybridization of the intermedia process.”
Experimental Women: Mapping Cinema and Video Practices from the Post-War Period up to Present
MARCHESCHI ELENA
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2020-01-01
Abstract
“Experimental cinema, video art, and new media art have always been fields in which the presence of women has proven significant. It took Feminist Film Theory to make us clearly understand that experimental audio-visual practices represent a privileged space for female action where, in the absence of the economic constraints and censorship typical of the cinema industry, greater freedom for research and production has been allowed. It is in fact in the porous area where independent and experimental cinema encounter art practices that women have managed to move the boundaries of (self-)representation and build an active laboratory to experiment and explore their subjectivities. We can’t also forget that, between the end of the 1960s and the beginning of the 1970s, many of the female presences linked to electronic art began, with great vigour, to carry out their creative activity in parallel with the demands promoted by the second wave of feminism. Nonetheless, feminist momentum and perspective, both in a creative and theoretical sense, are just some of the threads that, over the years, help us to read and interpret an experimental female audiovisual production that has been growing, becoming enriched and diversified thanks to the evolution of technologies and the hybridization of the intermedia process.”I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
