Chantal Akerman: Afterlives

This collection of essays celebrates the work of international feminist filmmakers from the 1950s to the present. Featuring contributions from leading scholars, filmmakers, essayists and activists, On Feminist Films is the second volume in the South London Cultural Review series. Contributors include: Stuart Bell, Catherine Grant, So Mayer, Louisa Wei, Emma Wilson.

"Ask audience to cut the part of the image on the screen that they don't like. Supply scissors."—Yoko Ono, Tokyo, June 1964

A dazzling range of unconventional film scripts and texts, many published for the first time, make up Scott MacDonald's newest collection. Illustrated with nearly 100 film stills, this fascinating book is at once a reference work of film history and an unparalleled sampling of experimental "language art." It contributes to the very dissipation of boundaries between cinematic, literary, and artistic expression thematized in the films themselves. Each text and script is introduced and contextualized by MacDonald; a filmography and a bibliography round out the volume.

This is a readable—often quite funny—literature that investigates differences between seeing and reading. Represented are avant-garde classics such as Hollis Frampton's Poetic Justice and Zorns Lemma and Morgan Fisher's Standard Gauge, and William Greaves's recently rediscovered Symbiopsychotaxiplasm: Take One. Michael Snow turns film loose on language in So Is This; Peter Rose turns language loose on theory in Pressures of the Text.

Some of the most influential feminist filmscripts of recent decades—Laura Mulvey and Peter Wollen's Riddles of the Sphinx, Su Friedrich's Gently Down the Stream, Trinh T. Minh-ha's Reassemblage, Yvonne Rainer's Privilege—confirm this book's importance for readers in gender and cultural studies as well as for filmmakers and admirers of experimental writing, independent cinema, and the visual arts in general.

‘Piles of Bricks / Piles de briques’ by Bie Michels presents the working proces of her project ‘Bricks in Madagascar’. This project consists of two films, ‘La couleur de la brique’ and ‘Ingahy Kama’, the installation ‘Circular construction versus human body—referring to Toshikatsu Endo’, which she showed in Madagascar (October 2017) and Argos Brussels (May 2018), and the performance ‘Piles of bricks (working process)’, on which she will work 8 weeks before the book presentation and which will be performed at that moment.

Besides images and stills, five writers deliver a contribution in their own working field related to the project: Hobisoa Raininoro (Art assistent and former director of CRAAM (Centre de Ressources des Arts Actuels de Madagascar, MG), Rafolo Andrianaivoarivony (Professor History University of Antanarivo, MG), Petra Van Brabandt (Doctor philosophy Sint Lucas Antwerp, B), Gwyn Campbell (Professor History Mc Gill University, CA) and Nanne op ‘t Ende (writer, NL)

A unique limited edition accessible publication documenting a project to make Black Audio Film Collective’s seminal 1986 film Handsworth Songs more, and differently, accessible. Designed by Daly & Lyon it presents a new commissioned annotated audio description script from Elaine Lillian Joseph and new creative captions commissioned from the Care-fuffle Working Group alongside new essays by Clive Nwonka and Sarah Hayden.

The publication was produced in collaboration with Voices in the Gallery and with the support and advice of the UK Association for Accessible Formats and financial support from AHRC. The publication is also available in website form designed by An Endless Supply at slowemergencysiren.org.uk

Dolce Stil Criollo’s fifth issue, "Extraordinarily Apotropaic," aims to rethink reality in its current ordinary form by discovering and creating charms and rituals for changing it into one where there is less harm. The issue features poems in multiple languages; a map of dreams; a video game-turned-manga; a section that functions as a kineograph; a collaboration with the Huni Kuin people; and more. We also curated a collective project, “Cinema of Hope,” which brings together 11 moving image artists in search of the apotropaic moment, caught on film. 

The cover of our fifth issue features one of five “santinho” inserts. Designed like prayer cards, they contain a collaged portrait of a musical artist (Pivaratu, Pivete Nobre, Iya, Swatch, Devil Gremory) on the recto and the rap lyrics they wrote in response to our theme on the verso.

Contributors include Andrés-Monzón Aguirre, Aykan Safoğlu, Azul Caballero Adams, Belinda Zhawi, Daniel Machado, Daniel Moura, Devil Gremory, Enorê, Esvin Alarcón Lam, Gabriel Massan, Hick Duarte, Itamar Alves, Iya, Jennifer Pérez, Jesse Cohen, Johan Mijail, Juan Pablo Villegas, Kasra Jallilipour, Kent Chan, Keratuma (Mileidy Domicó), Laura Huertas Millán, Lucía Melií, Lucía Reissig & Bernardo Zabalaga, Maria Thereza Alves, Masha Godovannaya, Mayada Ibrahim, Najlaa Eltom, NIna Djekić, Ophelia S. Chan, Pivaratu, Pivete Nobre, Ricardo Pinheiro (Ganso), Roberto Tejada, Sofía Córdova, Sofía Gallisá Muriente, Swatch, Thales Pessoa, and Thiago Martins de Melo.

Languages: Spanish, 
Portuguese, English, Japanese and Arabic

Fidback est une nouvelle revue de cinéma éditée par le FIDMarseille. Chaque printemps, Fidback fera retour sur l’année écoulée : retour sur la dernière édition du FID, retour sur l’actualité mondiale du cinéma, retour sur le travail d’un·e cinéaste proche du festival, en-dehors de toute actualité.

À partir d’une dizaine de films choisis et éclairés par des textes, entretiens, documents et matériaux inédits, chaque numéro composera une image du cinéma défendu par le FIDMarseille : l’image inattendue d’un cinéma aventureux.