Skip to main content

Screening Programme: Laura Mulvey and Peter Wollen

Cooper Gallery, Dundee, September 29th-October 7th

In December 2016, Laura Mulvey gave a keynote address at the Cooper Gallery as part of the 12hr Action Group symposium. This was the culmination to Of Other Spaces: Where Does Gesture Become Event?, the gallery's two chapter sprawl through feminist art since the 1970s. This September, the veteran feminist film theorist, who first introduced the notion of the male gaze to cinematic critique, returns to Dundee with her partner in art and life, Peter Wollen, for a series of screenings of some of the key films they made together.

Urgency and Possibility: Counter Cinema in the 70s and 80s will show five films, dating from Penthesilea: Queen of the Amazons, made in 1974, through to 1982's Crystal Amazons. Like them, 1977's Riddles of the Sphinx is feature length, while the shorter Frida Kahlo and Tina Modotti (1981) will also be screened. The season will open with a screening of the pair's 1980 film, AMY!, preceded by a talk by Mulvey. Only the pair's final outing, The Bad Sister, (1982) will not be seen in a canon that taps into patriarchal myths, male fantasy and sub Godardian disruptions of narrative. With a new wave of radical thought rising up as a counterblast to reactionary global forces, Mulvey and Wollen's back-catalogue look like key touchstones for possible futures yet to be written.

The List, September 2017

ends
Labels:

Comments

Post a Comment

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...
Post a Comment
Read more

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...
2 comments
Read more

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h...
Post a Comment
Read more