Feminism 101: The New York Women's Video Festival, 1972-1980

Barlow, Melinda

doi:10.1215/02705346-18-3_54-3

Cited by 10 publications

(1 citation statement)

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“…Reframing festival space in terms of discursive space in 88 which forms of address are mobilized allows us to shift emphasis from physical to digital forms of co-presence, and from public to domestic space, in order to theorize the digital spectator as not necessarily any less a member of a unique festival public than those participating in a nondigital event. Moreover, collapsing distinctions between domestic space and public space is not new in film festival practice; as Barlow (2003) highlights, the 1975 New York Women's Video Festival created a dimly lit Pillow Room complete with sofas, pillows, and blankets in an attempt to map the comfort of domestic space on to the public sphere. This strategy has more recently been adopted by activist film festivals such as Scottish Queer International Film Festival (SQIFF), Leeds Queer Film Festival, and Wotever DIY Film Festival, seeking to work within queer feminist frameworks and improve disabled access.…”

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confidence: 99%

Film Festivals on the Small Screen: Audiences, Domestic Space, and Everyday Media

Vail

Heath²,

Dickson³

et al. 2023

Rethinking Film Festivals in the Pandemic Era and After

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Since March 2020 in the UK, film festivals have moved to a variety of broadcast, video-on-demand (VOD), and VOD-like forms of film exhibition. Film viewing takes place on home television sets, laptops, and mobile devices and, due to the often-flexible form of film scheduling, the film festival comes to sit within and against the rhythms of everyday media use. This chapter provides a conceptual framework to theorize film festival audiences in this context. We argue that any account of online film festival audiences should take into consideration the relationship between film festival viewing and other media practices. Specifically, we draw attention to the ways in which film festival viewing practices are framed as distinct from other domestic media practices in the context of everyday life. We outline three main “sites” in which this framing occurs. The first site relates to the spaces of media consumption. The second relates to the temporal rhythms of media use. The third encompasses the forms of social interaction between different audience members. We argue that it is within these three sites that the frame of the online film festival is performed, negotiated, or felt to be missing.

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mentioning

confidence: 99%

Film Festivals on the Small Screen: Audiences, Domestic Space, and Everyday Media

Vail

Heath²,

Dickson³

et al. 2023

Rethinking Film Festivals in the Pandemic Era and After

View full text Add to dashboard Cite

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Feminist Moving Image Practices

Brebenel

2020

The International Encyclopedia of Gender, Media, and Communication

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This entry covers a brief herstory of feminist moving image practices, as individual artists or collectives have performed them. It aims to consider those less known histories, outside of the main United States and United Kingdom‐centered narratives. Often these refer to feminist work with moving images only as a part of a moment when video, as a more accessible technology, entered the gallery or museum space and afforded this space political potential. The role of this contribution is thus to offer an account that covers as much as possible a wider geographical range, as well as the documented feminist work with moving images performed by women of color and LGBTQ filmmakers and artists.

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International Filmmor Women’s Film Festival on Wheels: “Women’s Cinema, Women’s Resistance, Cinema of Resistance”

Haydari

2020

Female Agencies and Subjectivities in Film and Television

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Feminism 101: The New York Women's Video Festival, 1972-1980

Cited by 10 publications

References 10 publications

Film Festivals on the Small Screen: Audiences, Domestic Space, and Everyday Media

Film Festivals on the Small Screen: Audiences, Domestic Space, and Everyday Media

Feminist Moving Image Practices

International Filmmor Women’s Film Festival on Wheels: “Women’s Cinema, Women’s Resistance, Cinema of Resistance”

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