Distribution as Political Action: An investigation of the production, promotion and distribution of feminist time-based/durational performative art pr

作为政治行动的分配：对女权主义基于时间/持续的表演艺术项目的制作、推广和分配的调查

• 批准号: 2299698
• 金额: --
• 依托单位: University of Westminster
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2299698
• 关键词: Distribution; Political; Action; investigation; production

The proposed project is a practice-based investigation of the feminist film distributors Circles and Cinenova (Circles became Cinenova after acquiring Cinema of Women's catalogue). I will undertake archival and empirical research into the works they distributed and the practitioners who placed their work with them. I will also produce my own art works as a means of research through making, employing media used by Circles/Cinenova members such as 16mm, Super8, tape/slide, VHS, cassette tape and performance, while also responding to the thematic concerns of Circles/Cinenova members. This practical element aims to interrogate the impact changes in technology, economics, feminism, and society had on the work of Circles/Cinenova members. I will focus on three stages of the organisation's history, specifically the beginning of Circles as a volunteer-run organisation, Circles as a professional film distributor and its transition into Cinenova and Cinenova's de-funding and subsequent continuation as a volunteer-run organisation. I will concentrate particularly on Circles' early work of promoting and disseminating difficult-to-distribute media, their later commitment to the promotion and distribution of Black, Asian and Minority Ethnic (BAME) women's films and videos, and Cinenova's current commitment both to keeping their archive accessible and to continuing to promote the historical work in their collection alongside new work by women moving image artists.This project will build upon the research I have already undertaken on the topic for my MRes Art: Moving Image dissertation, Circles: An Investigation of Women's Work in Distribution. Since graduating in 2013, I have continued my research in this area through practice, making moving image and performance works which are in dialogue with my written dissertation by utilising various media used by Circles/Cinenova members. These works also respond to thematic concerns of Circles/Cinenova members such as women's health, mental health, work and formalism. For example, I shot Lost Time (2014) on Super 8 using in-camera editing. The film focuses on the texture of celluloid, mirroring sensual pleasures, such as a hand running over rough bark and a foot treading through crisp leaves, with the experience of watching the granular texture of the Super-8 film itself. In Tower/Garden (2017), (a 35mm slide projection with digital soundtrack) the key themes explored are social cleansing, gentrification, the housing crisis, mental health and zero-hours contracts. In Breaking Point, (2018) (performance), tensions between the domestic and the work space, creation and destruction, and the serious and the absurd are at the forefront of the work. In the performance I precariously stacked crockery on the edges of plinths and the top edge of the MDF walls within the space, culminating in most of the items being broken.

拟议的项目是对女权主义电影发行商 Circles 和 Cinenova（Circles 在收购 Cinema of Women 目录后更名为 Cinenova）的基于实践的调查。我将对他们分发的作品以及将其作品放置在其中的从业者进行档案和实证研究。我还将制作自己的艺术作品作为研究手段，通过制作、使用 Circles/Cinenova 成员使用的媒体（如 16mm、Super8、磁带/幻灯片、VHS、盒式磁带和表演），同时回应 Circles/Cinenova 成员的主题关注。这一实用元素旨在探讨技术、经济、女权主义和社会的变化对 Circles/Cinenova 成员工作的影响。我将重点介绍该组织历史的三个阶段，特别是 Circles 作为志愿者运营组织的开始、Circles 作为专业电影发行商以及向 Cinenova 的转变，以及 Cinenova 的撤资和随后作为志愿者运营组织的延续。我将特别关注 Circles 早期推广和传播难以传播的媒体的工作，后来致力于推广和传播黑人、亚洲人和少数族裔 (BAME) 女性电影和视频，以及 Cinenova 目前致力于保持其档案可访问性并继续推广其收藏中的历史作品以及女性动态影像艺术家的新作品。这个项目将建立在我已经就该主题进行的研究的基础上。 艺术硕士：移动图像论文，圆圈：女性分销工作的调查。自2013年毕业以来，我通过实践继续在这一领域的研究，利用Circles/Cinenova成员使用的各种媒体制作与我的论文对话的动态图像和表演作品。这些作品还回应了 Circles/Cinenova 成员关注的主题，例如妇女健康、心理健康、工作和形式主义。例如，我使用机内编辑在 Super 8 上拍摄了《失落的时光》(2014)。影片聚焦于赛璐珞的质感，反映出感官上的愉悦，例如手在粗糙的树皮上奔跑、脚踩在脆嫩的树叶上，以及观看 Super-8 胶片本身的颗粒质感的体验。在《塔楼/花园》（2017）（带有数字配乐的 35 毫米幻灯片投影）中，探讨的关键主题是社会清洗、中产阶级化、住房危机、心理健康和零时合同。在《断点》（2018）（表演）中，家庭与工作空间、创造与破坏、严肃与荒诞之间的紧张关系处于作品的最前沿。在表演中，我将陶器摇摇欲坠地堆放在空间内的底座边缘和中密度纤维板墙的顶部边缘上，最终导致大部分物品都被打破。