Etiquetas: Peter Wollen

Peter Wollen

Peter Wollen (nacido el 29 de Junio de 1938 en Londres) es un teórico cinmatográfico y escritor. Estudió Lengua Inglesa en Christ Church, Oxford. Su libro Signs and Meaning in the Cinema (1969), ayudó a tranformar la disciplina de los estudios sobre cine incorporando los métodos estructuralistas y semióticos.

Nacionalidad: 

Reino Unido

Contenido etiquetado

  • Afterimage

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    Fechas: 

    De Miércoles, Junio 7, 2023 (Todo el día) hasta Jueves, Junio 22, 2023 (Todo el día)

    Local: 

    Cinematek - Brussels, Bélgica

  • The Films of Laura Mulvey and Peter Wollen

    This collection of Laura Mulvey and Peter Wollen's film scripts vividly evokes the close connection between their influential work as theorists and their work as filmmakers. It includes scripts for all six of Mulvey and Wollen's collaborative films, Wollen's solo feature film, Friendship's Death (1987), and Mulvey's later collaborations. Each text is followed by a new essay by a leading writer, offering a critical interpretation of the corresponding film.

    Valoración: 

    Sin votos (todavía)

    Categoría: 

    Editor: 

  • An Other Cinema: Apparatus and Histories

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    I'm in Pittsburgh and It's Raining (Jesse McLean, 2015)

    From appropriation of dominant cinematic archives, to critical scrutiny of film techniques, the 12 modern and contemporary artists' works presented in this program exemplify an alternative and highly self-reflective form of cinema. Following Erika Balsom’s understanding of contemporary art as a potential “laboratory for film, a place in which its social, technological and aesthetic history can be picked over and recycled,” they reconsider what cinema is (or was) and what it can do. With an emphasis on the ideology behind the operation of filmic apparatus and the technological externalization of memory and time, the works in this program expose critical and aesthetic potentials of “an other cinema,” oscillating between white cube and black box.

    Fechas: 

    De Lunes, Septiembre 6, 2021 (Todo el día) hasta Lunes, Septiembre 20, 2021 (Todo el día)

  • Xcèntric: Riddles of the Sphinx

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    In Riddles of the Sphinx, a key work of the British cinema of the seventies, Laura Mulvey and Peter Wollen use a new formal structure to analyse the way women were represented in the cinema. Based on the critical articles and research of the two filmmakers, the film returns constantly to women and the place of maternity in society, not as a visual image but as a theme for investigation. This content cannot be addressed by the aesthetic parameters established by traditional cinematographic practice, instead involving formal research in which, using multiple voices, Mulvey and Wollen seek to construct a different relation between the spectator and the female subject.

    Fechas: 

    Domingo, Marzo 8, 2015 - 18:30

    Local: 

    Centre de Cultura Contemporània de Barcelona - Barcelona, España

  • Laura Mulvey & Peter Wollen - Riddles of the Sphinx/Amy!

    Laura Mulvey and Peter Wollen are not filmmakers first and foremost; they are film theorists, critics and thinkers. Mulvey and Wollen’s texts from the 1970s set their sights on utopian and revolutionary perspectives. Mulvey emphasizes the gestures necessary for a cinematic liberation struggle, while Wollen draws on the power of fantasy and adopts cinema as a model for a new avant-garde. Both play a role in writing a manifesto for a different kind of cinema, whose militant nature is gained from radical work on (cinematic) symbolization processes.

    Valoración: 

    Promedio: 3.3 (3 votos)

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  • Laura Mulvey & Peter Wollen - Riddles of the Sphinx

    Laura Mulvey and Peter Wollen's visually accomplished and intellectually rigorous Riddles of the Sphinx is one of the most important avant-garde films to have emerged from Britain during the 1970s.

    The second collaboration between Mulvey and Wollen, both of whom are recognised as seminal figures in the field of film theory, Riddles of the Sphinx explores issues of female representation, the place of motherhood within society and the relationship between mother and daughter. Composed of a number of discrete sections, many of which are shot as continuous circular pans, the film takes place in a range of domestic and public spaces, shot in locations which include Malcolm LeGrice's kitchen and Stephen Dwoskin's bedroom.

    Valoración: 

    Promedio: 2.8 (8 votos)

    Categoría: 

    Editor: 

  • Light Industry: Riddles of the Sphinx

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    Light Industry: Riddles of the Sphinx
    Tuesday, January 12, 2010 at 7:30pm
    220 36th Street (between 2nd and 3rd Avenue), 5th floor
    11232, Brooklyn, NY, USA
    Introduced by Emma Hedditch

    Riddles of the Sphinx
    Laura Mulvey and Peter Wollen, 16mm, 1977, 90 mins

    Laura Mulvey and Peter Wollen's film addresses the position of women in patriarchy through the prism of psychoanalysis. Riddles of the Sphinx draws on the critical writings and investigations by both filmmakers into the codes of narrative cinema, and offers an alternative formal structure through which to consider the images and meanings of female representation in film.

    The film is constructed in three sections and 13 chapters, combining Mulvey's own to-camera readings around the myth of Oedipus's encounter with the Sphinx with a series of very slow 360 degree panning shots encompassing different environments, from the domestic to the professional. Louise, the narrative's female protagonist, is represented through a fragmented use of imagery and dialogue, in an attempt to break down the conventional narrative structures of framing and filming used to objectify and fetishise women in mainstream cinema. This could be seen as a formal development of the Lacanian analyses that Mulvey had applied to the female image in film in essays such as 1975's 'Visual Pleasure and Narrative Cinema' (in Screen).

    Riddles of the Sphinx attempts to construct a new relationship between the viewer and the female subject, presenting her through multiple female voices and viewpoints. The dialogue, constructed from the different voices of Louise, her friends and fellow workers, brings a shifting and ambiguous range of meanings to the film, in contrast to the explanatory authority associated with a conventional voice-over. Other voices and images from outside the film's narrative world also question and disrupt pre-supposed meanings and symbols of the woman within and without the screen; from the mythical enigma of the Sphinx to the appearances of artist Mary Kelly and Mulvey herself.

    As Mulvey herself subsequently put it, "What recurs overall is a constant return to woman, not indeed as a visual image, but as a subject of inquiry, a content which cannot be considered within the aesthetic lines laid down by traditional cinematic practice." - Lucy Reynolds

    Tickets - $7, available at door.

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