An analysis of structural cinema generally debates the films made by US men. Yet the wealth and volume of structural films created by women show how inappropriate this approach is. One of the aims of this session is to uncover preconceived ideas, formal systems and materialist resources of filmmakers involved in the anti-illusionist discoveries of the film medium. Pieces by Canadian Joyce Wieland and Catalan Eugènia Balcells share the bill with a series of works by English women artists associated with the London Film-Makers’ Co-op.
Autumn Rush for Kurt Kren and Winter and Spring and Summer, Anna Thew, 2003, 6 min, silent (double digital screening)
Notes from Light Music, Lis Rhodes, 1975-1977, 12 min (digital screening)
Fuga, Eugènia Balcells, 1979, 20 min, silent (digital screening)
Footsteps, Marilyn Bailey, 1975, 16 mm, 6 min
1933, Joyce Wieland, 1967, 16 mm, 4 min
Deck, Gill Eatherley, 1971, 16 mm, 13 min
Slides, Annabel Nicolson, 1971, 16 mm, 11 min, silent
