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Out of hand: Experimental media prac...
~
Willis, Holly Laing.
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Out of hand: Experimental media practices by women.
Record Type:
Electronic resources : Monograph/item
Title/Author:
Out of hand: Experimental media practices by women./
Author:
Willis, Holly Laing.
Description:
271 p.
Notes:
Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1882.
Contained By:
Dissertation Abstracts International64-06A.
Subject:
Cinema. -
Online resource:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3094423
Out of hand: Experimental media practices by women.
Willis, Holly Laing.
Out of hand: Experimental media practices by women.
- 271 p.
Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1882.
Thesis (Ph.D.)--University of Southern California, 2002.
<italic>Out of Hand: Experimental Media Practices by Women</italic> surveys a 30-year history of feminist media production, including film, video, installation, and new media, charting the projects of artists who work tactically, using the term as it is defined by French theorist Michel de Certeau.Subjects--Topical Terms:
854529
Cinema.
Out of hand: Experimental media practices by women.
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271 p.
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Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1882.
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Adviser: David James.
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Thesis (Ph.D.)--University of Southern California, 2002.
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<italic>Out of Hand: Experimental Media Practices by Women</italic> surveys a 30-year history of feminist media production, including film, video, installation, and new media, charting the projects of artists who work tactically, using the term as it is defined by French theorist Michel de Certeau.
520
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The study charts shifts in technology, working methods, feminist issues, and the notion of an alternative media practice within the United States, focusing mainly on feminist media projects from 1990 forward. The study also situates these projects in the larger contexts of the history of avant-garde cinema, video art, and the art world, illustrating links to the poststructuralist tactics of appropriation, narrative experimentation, and identity subversion that characterize feminist artwork in general. The study also tackles the ways in which contemporary feminist media artists are continuing to grapple with how to understand and resist the sense of political and social disorientation that in the early 1990s helped reduce what remained of a feminist movement to near non-existence. Another issue asks where, as the entertainment, telecommunication, and international business industries continue to merge, should political resistance occur? Underlying these larger political questions is the ongoing project of rethinking the subject, dramatically questioned in terms of the matrix of race, class, and gender in 1960s experimental film and video and now reconfigured with attention to phenomenological inflections of the world around us, and to technology. A third issue is that of the body, now understood to be thoroughly imbricated in technology such that the boundary separating body and machine has become malleable, with one the supplement to the other. While much attention has been paid in feminist analysis to the political insurgency of the notion of the cyborg, the complex interconnectedness of the body, both physical and psychic, within an increasingly altered conception of space and time, demands more consideration. Finally, the destabilization of the spatial realm and the rethinking of our abilities for cognitive mapping are radically altering how we conceptualize all acts, and therefore the very possibility for resistance.
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James, David,
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3094423
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