Filters
Writing
On Half-Lives by Khairani Barokka
‘There is Always More to be Distributed Than the Works Themselves’: On the Possibility of Militancy in and beyond Film Distribution by Samira Makki
Organízate Y Lucha: 1980s Non-Fiction Film Distributed by Cinenova, and Beyond by Isabel Seguí
Eyelash, Flashlight, Shadow Bike by Remi Graves
I Don’t See A History That Goes Back From Before I Came In by Marina Vishmidt and Caye Castagnetto
'The Work They Say is Mine' - Introductory notes for screening at Iniva, London by Marina Vishmidt and Caye Castagnetto
Her, Her, Me, It, Them, There: Scripto-Visual, Social-Economic, Post-Partum, East End, TV? by Marina Vishmidt
Description of Judith Barry's 'Casual Shopper' by Marina Vishmidt
Me Plus Ultra by Marina Vishmidt
'The Work They Say is Mine' - Introductory notes for screening at Iniva, London
Screening details
'Who Takes the Rap – Immigration', by Lai Ngan Walsh with the Women & the Law Collective, UK, 1986
'Sari Red' by Pratibha Parmar, UK, 1988
'Sudeuropa' by Maria Iorioa and Raphael Cuomo, Switzerland / Netherlands, 2007
Introduction
From the recent past to this passing moment, these three films delimit a zone where the politics of migration and gender are transmuted into conflictual strategies of staging visibility, with visibility the decisive factor in what gets represented as history.
Power operates in plain sight, hidden from all, while staying out of view is the basis of both extreme control and relative freedom for people criminalized by the only needs that matter, those of the global economy and security states. The aporetic poetics of these works do not set out to portray so much as enter into, and depart from, the critical mediations of the archive, the news media and the cultural institution, and of course the camera itself.
They raise a set of trenchant, if at times oblique, questions about how far visibility can go, when it’s inscribed into the nexus of inclusion/exclusion showing only that which can already everywhere be seen.
