‘WE WILL INVENT OURSELVES, THE AGE OF THE NEW IMAGE IS AT HAND’
2007; Routledge; Volume: 22; Issue: 53 Linguagem: Inglês
10.1080/08164640701364679
ISSN1465-3303
Autores Tópico(s)Media, Gender, and Advertising
ResumoClick to increase image sizeClick to decrease image size Acknowledgements I would like to thank Joy Damousi, Maree Pardy and Jessica Freame for their generosity in reading drafts of this article and their insightful suggestions. Michelle Arrow, Mary Spongberg and the anonymous reviewers also provided pereceptive and valuable feedback for which I am grateful. Notes 1. An exception is Collins (1998b Collins , Felicity. 1998b . Film . In Australian feminism: A companion Barbara Caine. Melbourne : Oxford University Press . [Google Scholar], 110–12). For details of film groups, see Grahame and Prichard (1996 Grahame , Emma , and Janette Joy Prichard . 1996 . Australian feminist organisations 1970–1985 . Sydney : University of Sydney Women's Studies Centre . [Google Scholar]). 2. Articles can be found in the following publications: Australian Journal of Screen Theory, Cinema Papers, Hecate, Lip, Lumiere, Refractory Girl, Scarlet Woman and Social Alternatives. 3. Women involved in various types of political filmmaking in Australia include Catherine Duncan, who worked with Joris Iven locally and internationally in the 1940s; the Grail film group that made Catholic propaganda films in the 1930s and 1940s; and in the 1950s Norma Disher was a member of the Waterside Workers Film Unit. 4. See O'Regan (1989 O'Regan , Tom . 1989 . Cinema Oz: The Ocker films . In The Australian screen Albert Moran and Tom O'Regan Melbourne : Penguin . [Google Scholar]). 5. The political feminist presence at the SFC was not heralded universally. Janet Merewether describes how it displaced the underground and avant-garde filmmakers, such as Ubu member Clemency Brown, who distanced herself from the SFC after being ‘booed down’ for criticising a woman's film and after the ‘debate about the “problem of having a boy child”’ began (Merewether 2003 Merewether , Janet . 2003 . Fuck the mainstream—let's make art: Women experimenting with form . In Womenvision: Women and the moving image in Australia Lisa French Melbourne : Damned Publishing . [Google Scholar], 134–35). 6. See, for example, Tomsic (2004 Tomsic , Mary . 2004 . Beyond the silver screen: Women's involvement with filmmaking and film culture in Australia 1920–1995 . PhD diss., History Department, University of Melbourne . [Google Scholar], chaps 1, 3, 5). 7. For further details of the Women's Film Fund, see Thornley (1987a Thornley , Jeni . 1987a . Past, present and future: The Women's Film Fund . In Don't shoot darling! Women's independent filmmaking in Australia Annette Blonski , Barbara Creed , and Freda Freiberg Melbourne : Greenhouse . [Google Scholar]); Blonski, Cunningham, and Verhoeven (1988 Blonski , Annette , Sophie Cunningham , and Debby Verhoeven 1988 . Funds, funds, funds . Cinema Papers 67 : 28 – 31 . [Google Scholar]); Grieve (1987 Grieve , Anna . 1987 . Big mother/little sister: The Women's Film Fund . In Don't shoot darling! Women's independent filmmaking in Australia Annette Blonski , Barbara Creed , and Freda Freiberg Melbourne : Greenhouse . [Google Scholar]); and Harrison (1987 Harrison , Noelene . 1987 . The Women's Film Fund . In the Picture 2 ( 2 ): 2 . [Google Scholar]). 8. While the filmwork I briefly examined here is largely Sydney based and of explicitly political nature, Freda Freiberg cautions that attention is often placed on this style of filmmaking at the expense of more experimental feminist filmmaking based in Melbourne (1984 Freiberg , Freda . 1984 . Films by women: Seminar critiques and talks by Freda Freiberg, Wendy Lawrence and Ann Turner . Title 370648, National Film and Sound Archive, Canberra . [Google Scholar]). 9. For more detailed analysis and reflections on Maidens, see Collins (1998a Collins , Felicity. 1998a . The experimental practice of history in the filmwork of Jeni Thornley . Screening the past first release. Available from www.latrobe.edu.au/screeningthepast/firstrelease/fir598/Fcfr3a2.htm [cited 23 February 2007] . [Google Scholar]) and Thornley (2003 Thornley , Jeni . 2003 . Through a glass darkly. Meditations on cinema, memory, psychoanalysis and feminism . In Womenvision: Women and the moving image in Australia Lisa French . Melbourne : Damned Publishing . [Google Scholar]). 10. For example, in the case of We Aim to Please, see Moore (1987 Moore , Catriona . 1987 . Reading ‘woman’: For Love or Money and We Aim to Please . In Don't shoot darling! Women's independent filmmaking in Australia Annette Blonski , Barbara Creed , and Freda Freiberg Melbourne : Greenhouse . [Google Scholar], 367–68) and Stern (1978, 120). 11. Carolyn Howard also notes that the cooperative had changed and become more accessible to women filmmakers (1976 Howard , Carolyn . 1976 . The Melbourne Women's Film Group . Lip 1 : 16 . [Google Scholar], 16). 12. In a similar case, Martha Kay [Ansara] spoke about a group of which she was a member that had developed to help women's groups to use films while also making them. It was not until the group began to break down that members began to make films (Fiske and Kay 1975 Fiske , Pat , and Martha Kay [Ansara] . 1975 . Women, feminism and film . Refractory Girl 8 : 22 – 31 . [Google Scholar], 23–24). 13. For varying reports of numbers of participants, see SWFG reports 200 participants (1979a, 5), Scarles reports more than 300 participants (1975, 33), and Hawker reports more than 500 participants (1987, 137). 14. This was one of five strategies that the SWFG advised the Women's Film Fund to implement to promote women's filmmaking. 15. For example, the Victorian Women's Liberation Victorian Women's Liberation And Lesbian feminist Archive . Melbourne : University of Melbourne Archives . [Google Scholar] and Lesbian Feminist Archive in the University of Melbourne Archives includes film periodicals like Film News in the Sally Mendes and Alva Geikie Papers, 100/215, as does Di Otto Papers, 100/109. The collections of Cathleen Moore 100/205, Jo Phillips 100/204 and Lesbian Open House 100/223 all have subject files devoted to film. 16. The Reel Women Film Collective appeared along with groups such as the Gay Readers’ and Writers’ Group, Scarlet Woman Collective, Sybylla Press, and the Women's Radio Group (Self Help Resource Directory 1982). 17. For a collection of flyers see Women's Liberation Movement File (n.d.) and Women Performing Arts File (n.d.) Women Performing Arts File . n.d . FJ Riley and Ephemera Collection, State Library of Victoria, Melbourne . [Google Scholar]. 18. Sydney's Australian Film, Radio and Television School was founded in 1973 (and was known then as the Film and Television School). Swinburne had offered film and television courses since the mid-1950s. See Quinn and Urban (1998, xiv–xv) and Paterson (1996, 70).
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