Standorte und Szenarien der zeitgenössischen feministischen Film- und tv-wissenschaften



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For You Linda Christanell, A 1984, 16mm (s8-Blow up), 8 min., Farbe, stumm

Die blaue Distanz Elfi Mikesch, BRD 1983, 16mm, 25 min., s/w

Mann & Frau & Animal Valie Export, A 1970-73, 16mm, 10 min., Farbe

Johnny oder das rohe Fleisch Eva Heldmann, BRD 1984, 16mm, 4 min., Farbe

Die Urszene Christine Noll Brinckmann, BRD 1987, 16mm, 6 min., s/w & Farbe

Kugelkopf Mara Mattuschka, A 1985, 16mm, 6 min., s/w

Gezacktes Rinnsal schleicht sich schamlos schenkelnässend an

Hans A. Scheirl & Ursula Pürrer, A 1985, 16mm (S8-Blow up), 4 min., Farbe

First Comes Love Su Friedrich, USA 1991, 16mm, 22 min., s/w



ab 21.30 Ra’Mien Bar

Club

SCREENWISE goes Homoriental

CJ Yasemin features Oriental Dancefloor

Gumpendorferstr. 9, 1060 Wien

Sunday, 18. Mai 2003
12.00 –15.00 project space

Workshop II (in English if required)

Johanna Schaffer & Marcella Stecher (Wien): Strong Upper Arms? Shiftable Promises? Radical sexual politics: Alternative concepts of the body and desire in lesbian, queer film/Video images of S/M

Within feminist debate, lesbian S/M fantasies have outlined – for over twenty-five years – a controversial terrain between political incorrectness and a politics of visibility begging for respect. In any case, they have opened a necessary forum for the discussion of sexuality, power, representation, and fantasy.

Genealogically, this workshop arose from our shared confrontation with representations of lesbian and queer sexuality. Our interest in film and video images has meanwhile turned to works whose themes, practices, and codes refer to the subcultures of experimental sexualities.

We move beyond the girl-meets-girl pattern to seek out queer, lesbian representations of sex that pursue ways of situating a self (also in relation to others) as a sexual subject, beyond the myth of love and couple compulsion, beyond emotional and psycho dramas, and beyond a feminist norm that prohibits using others and allowing oneself to be used. Thus, we are seeking representations of sex where people take positions that make themselves objects, or objectify others with their consent. Our main focus is on S/M as a communal practice for producing sexual fantasies based on explicit and consensual construction and negotiation of rules, which by doing so, provide the initial enabling framework for this practice. That which fascinates us about S/M is the possibility, often negotiated, of a libidinal zoning of the body beyond genitality and the heterosexual matrix.

With this workshop, we want to promote a common dialogue on how certain images evoke and support possible alternatives for self-empowerment with reference to sexual behavior. What are the codes, rhythms, drives, representations of practices and bodies that these film and video images employ when inviting viewers to share their fantasies? When do we, the individuals, take up these offers? What role does the depiction of pain play in these images? What is the role of references to rules and codes of sexually experimental subcultures and communities?

For the context of the workshop, we assume a readiness to reconstruct the effects of a historical feminist debate along one of its most productive points: the differentiation between representation, action, and fantasy – while acknowledging the interwovenness of these realms of reality. We understand fantasy as a unique realm of reality that does not denote an object of desire, but rather, functions as its setting.

We ask that you bring a basic interest in these cinematically produced fantasies, as well as the willingness to be challenged by images that touch upon one’s own borders of reasonability. We hope for an inquisitive desire to watch and attentive/respectful desire to discuss, which, however, does not imply that everyone will share the fantasies screened or that they will be accessible for all.

12.00 –15.00 project space

Workshop III (in English if required)

Eva Heldmann (Frankfurt) & Katja Wiederspahn (Wien): Nomads of Pleasure. Feminist film work in the 21. century – Avant-garde without a public?

Taking Eva Heldmann’s documentary film fremd gehen. Gespräche mit meiner Freundin as a starting point, we will toss out several provocative questions pertaining to the relationship of feminist film theory and practice: Should we consider the project of a feminist “counter cinema,” which has been followed with a feminist verve since the 1970s, a failure? How do today’s feminist filmmakers position themselves in relation to an increasingly institutionalized feminist film theory? Has the development of a feminist theory discussion contributed to the “formation” of a self-confident feminist audience? Where does today’s feminist avant-garde locate itself?

In the context of these questions, the term “nomadizing” describes a movement of thought: it refers to fantasies of breaking out, liberation from chains, searching, promiscuity, wandering, crossing borders – thus, utopian, lustful moments of our own feminist projects. At the same time it also refers to a situation in feminist film and cinema in general, which, in contrast to feminist theory construction of the last decades, seems to refrain from an academic institutionalization/canonization and instead, wanders in the most varied public spaces.

15.00 – 15.30 break

15.30 – 17.00 project space

Final Discussion (in German): ScreenVISIONS: Results and Perspectives



Chair: Ruth Noack (Wien)

19.00 Österreichisches Filmmuseum

IMAGE PLEASURE – Program 4

Les mains negatives Marguerite Duras, F 1979, 35mm, 16 min., Farbe, OF

Je, tu, il, elles Chantal Akerman, B 1974, 35 mm, 90 min., s/w, OmdU
21.00 Österreichisches Filmmuseum

IMAGE PLEASURE – Program 5

Intimate Confessions of a Chinese Courtesan [Ai Nu]


Chu Yuan, HK 1972, 35mm, 90 min., Farbe, OmeU
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