In this week's Playlist we present a selection of videos by our members that examine 'Gender Representation'.
Alison J Carr, Woman As Image (Single Channel Edit), 2009
An unlikely duet; using the appropriated imagery of Rita Hayworth performing ‘Put the Blame on Mame’ in Gilda and pairing it with her own performance; a song and dance number using a section of Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ to the tune of ‘All That Jazz’. A love for the oeuvres of both women are enacted through the artist’s body. The word’s of Laura’s famous essay are used as a talisman to ward off the male gaze so that the artist can perform as a star in her own musical, on her own terms.
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Laura O Connor, SweetHeart, 2015
SweetHeart lives an IRL/URL life as an artwork. She is physical and digital. She is a consumer and a producer.
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Julia Riddiough, Knit One Purl One, 2008-2009
'What we see is not what is....what we see is not exactly what we get....'
This film questions how identity, perception and stereotypes are portrayed And overlap to provide different meanings and readings revealing that some Issues are timeless and ever present in our lives. The film tells the story of the Women photographed in vintage knitting patterns I had collected dating from the 1950's. Each character narrates common themes and issues we all face. Along with these tales, we hear the ongoing debates in visual culture and the modern world that link back to the previous time when the images were taken. Into the film are weaved film techniques used in the 1950's with the related internal monologue created by 'extreme close up' and 'close up'.
These References to film terminology are employed to emphasis 'moving image' when utilising stills from found imagery; the use of archive and still images Perhaps makes it harder to be confident of what we are seeing and in turn This considers 'reality' in another time and space.
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Ingrid Berthon-Moine, Alors tu m'aimes?, 2010
‘Alors tu m’aimes?’ is a series of videos focusing on the intense beauty regime of women. Kitchen utensils and hygiene products are part of the alluded beauty routine, referencing Martha Rossler’s “Semiotics of the kitchen”. The ordinary use of the tools is applied to the beautification of the female body and produces an ironical association between the household and beauty maintenance women are so familiar with.
History, culture and media have shaped the female body resulting in an authoritative form of aestheticism. This sanitised spectacle has lead women to a predetermined vision of themselves and by internalizing this panoptic mechanism, they possibly feel under pressure to discipline their bodies.
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