In her poem The Breast Anne Sexton ends with the line, “I burn the way money burns,” suggesting the complex and contradictory nature of female desire and its structurally dictated dual role—as lover but also care-giver and mother. These five films selected from LUX and Cinenova collections (1978-1994) not only confront this dual nature of women’s work. Through formal experimentation of both sound and image tracks, they also envision what Susan Stein describes in She Said as the “geometry of creeping lines” that inscribe the social relation of reproduction onto space itself.
In grappling with the multiple time-scales of women's work, these films use a wide variety of techniques to make visible the real difficulty of representing domestic labour and unwaged time. Through the lens of a gendered camera, they attend to details and patterns of these underlying processes to offer innovative representations of the quotidian and unending time of women’s work. Read more
Victoria Brooks is curator of time-based visual art at EMPAC (Experimental Media & Performing Arts Center) at Rensselaer Polytechnic Institute in Troy, NY.
- Often During the Day (Joanna Davis, 1978)
- She Said (Susan Stein, 1982)
- Pictures on Pink Paper (Lis Rhodes, 1982)
- Mutiny (Is this what you were born for: Part 3) (Abigail Child, 1989)
- Armchair Terrorist (Marion Reichert, 1994)
With thanks to CINENOVA.
CINENOVA is a non-profit organisation dedicated to distributing feminist films and videos. For more information on the CINENOVA Collection please see: http://www.cinenova.org/
Tickets: £6, bookings via Eventbrite