Many female filmmakers have filmed themselves in a way that resembles the diary, the notebook or the self-portrait. At the same time, many female filmmakers began their careers working as actresses. Considering such overlaps in film history, we might now ask the question: in the work of female filmmakers, is there anything that could be considered a reflection of, or reaction to, the way they were observed and filmed by others, therefore turned into images, into the reverse shot?
In studying the performance of actresses, beyond critical or biographical texts, wouldn’t it be better to start with these images, to see how some actresses have expressed their thoughts on cinema through their ways of directing and performing, of showing themselves, or filming and being in contact with actresses and actors? In fact, by facing the masculine construction of both film language and history, these filmmakers have often created images that originate in unexplored spaces of experience. First of all, greater efforts should be made to screen their films, because the work of some of the best actress-filmmakers has been buried or marginalised, almost not screened, disseminated or edited, at least outside their countries of birth –in this respect we might think about the films of Kinuyô Tanaka, Aparna Sen or Juliet Berto, works by a pioneer like Lois Weber, or a classic filmmaker like Ida Lupino.
This curiosity for answering –from or against the reverse shot– by creating other images –seen from other places or with other approaches– can be noticed in the ways of filming the use of time, the intimacy of its length and its experimentation, or the signs of time as engraved in bodies, in filmmakers that either have filmed themselves as figures, image or voice, or that have made self-portraits through portraying the other or the personal space: Lois Weber, Anne-Marie Miéville, Jocelyne Saab, Chantal Akerman, Kinuyô Tanaka, Marguerite Duras, Barbara Loden, Anne Charlotte Robertson, Juliet Berto, Maya Deren, Shirley Clarke, Jackie Raynal, Carolee Schneemann, Yvonne Rainer, Marie Menken, Margaret Tait, Forough Farrokzhad, Agnès Varda, Naomi Kawase, Rose Lowder, Marjorie Keller, Coleen Fitzgibbon, Manon de Boer, Ute Aurand, Raymonde Carasco, Rebecca Meyers, Gunvor Nelson…
Editorial. Portrait as an actress, self-portrait as a filmmaker
Gonzalo de Lucas
About the femenine
Maya Deren
About Fuses
Carolee Schneemann
Conversation about Wanda by Barbara Loden
Marguerite Duras and Elia Kazan
About the Film-Diary
Anne-Charlotte Robertson
Nothing to say
Chantal Akerman
About the Women Film Pioneers Project
Alejandra Rosenberg
Medeas. Interview with María Ruido
Palma Lombardo
Florencia Aliberti, Caterina Cuadros and Gala Hernández
Lois Weber: the female thinking in movementWeber: the female thinking in movement
Núria Bou
‘One must at least begin with the body feeling’: Dance as filmmaking in Maya Deren’s choreocinema
Elinor Cleghorn
Nothing of the Sort: Barbara Loden’s Wanda (1970)
Cristina Álvarez López and Adrian Martin
The Trouble with Lupino
Amelie Hastie
Presence (appearance and disappearance) of two Belgian filmmakers
Imma Merino
Identity self-portraits of a filmic gaze. From absence to (multi)presence: Duras,Akerman, Varda
Lourdes Monterrubio Ibáñez
Jorge Oter; Santos Zunzunegui (Eds.) José Julián Bakedano: Sin pausa / Jose Julian Bakedano: Etenik gabe
María Soliña Barreiro