Following in the footsteps of the filmmakers whose work it features — including Miranda July, Janie Geiser, Tracey Moffatt, Sally Potter, Cindy Sherman, Samira Makhmalbaf, Sadie Benning, Agnès Varda, Kim Longinotto, and Michelle Citron — There She Goes: Feminist Filmmaking and Beyond seeks to make trouble not only in the archives but also at the boundaries between artistic, industrial, political, critical, and disciplinary practices. Editors Corinn Columpar and Sophie Mayer have assembled scholarship that responds to women’s work in the interstices between different branches of the film industry, modes of filmmaking, national or transnational contexts, exhibition media, and varieties of visual representation in order to assess the exchanges such work enables.
Essays in the first three sections of There She Goes explore connections at the level of curation and exhibition, while the subsequent four consider local connections such as those between the film and the audience or between works within an oeuvre, down to those occurring on the surface of the film. Contributors reach beyond traditional screen cinema to interact with a larger field of artistic production, including still photography, music videos, installation art, digital media, performance art, and dance. Essays also pay particular attention to a variety of contextual factors that have shaped women’s filmmaking, from the conditions of production and circulation to engagement with various social movements and critical traditions, including, but not limited to, feminism.
By foregrounding fluidity, There She Goes presents a an exciting new appraisal of feminist film culture, as well as the intellectual and affective potential it holds for filmmakers and filmgoers alike. Scholars of film and television studies and gender studies will appreciate the fresh outlook of There She Goes.
“The agenda of this volume is to examine the flows within and through feminist film culture by both foregrounding contemporary figures that embody the polymorphous potential of the present and revisiting, in order to re-vision, the past through a newly ground lens. The result is a collection of essays that draws attention to practices, texts, and producers whose interstitial nature makes them difficult to recognize in a discursive field conditioned by disciplinary divisions. Following in the footsteps of the filmmakers whose work it features, There She Goes seeks to make trouble not only in the archives but also at the boundaries — be they drawn around artistic, industrial, political, or critical practices. When Rachel Kushner asked Miranda July what kind of project she intended to tackle in the wake of the success of her first feature-length film, Me and You and Everyone We Know (2005), July replied, with characteristic whimsy and sharp insight, “I have a gigantic plan, Rachel, and it involves performance, and fiction, and radio, and the WWW, and TV and features that are both ‘conventional’ and totally not. And when I’m done with my plan, when I’m very old, hopefully there will be a little more space for people living with profound doubt to tell their stories in all different mediums. Also Hollywood won’t be so sexist.” Locating her work as a commercial filmmaker within a much larger field of cultural production and social change, July functions as exemplar of a contemporary film culture wherein people and products are moving with increasing frequency among venues (gallery, theater, festival, and online), materials (celluloid and digital video), locales (including those in both the “First” and “Third” Worlds), modes of production (studio-financed and “independent,” auteurist and collaborative), and artistic roles (actor, director, producer, and writer) … There She Goes announces a new appraisal of filmmaking that is tied to and celebratory of feminist notions of fluidity and reinvention, as well as their intellectual and affective potential for filmmakers and filmgoers alike.”
from There She Goes: Feminist Filmmaking and Beyond, Editors: Sophie Mayer and Corinn Columpar (Wayne State University Press, 2009)
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