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

拟议的项目是对女权主义电影发行商圈子和Cinenova(圈子在获得女性电影目录后变成Cinenova)进行的实践性调查。我将对他们分发的作品和将他们的作品放在一起的实践者进行档案和实证研究。我还将通过制作制作自己的艺术作品作为研究手段，使用Circle/Cinenova成员使用的媒体，如16 mm、Super8、磁带/幻灯片、VHS、盒式磁带和表演，同时也回应Circle/Cinenova成员的主题关注。这一实用元素旨在询问技术、经济、女权主义和社会的变化对圈子/Cinenova成员的工作产生的影响。我将重点讲述该组织历史的三个阶段，特别是作为志愿者运营组织的圈子的开始、作为专业电影发行商的圈子以及它向Cinenova的过渡和Cinenova的撤资以及随后作为志愿者运营的组织的延续。我将特别关注Circle推广和传播难以传播的媒体的早期工作，他们后来对促进和分发黑人、亚洲和少数民族(BAME)妇女电影和视频的承诺，以及Cinenova目前的承诺，即保持其档案可供访问，并继续促进其收藏的历史工作与女性电影艺术家的新作品一起。这个项目将建立在我已经为我的MREs Art：运动图像论文，Circle：调查发行的妇女工作进行的研究的基础上。自2013年毕业以来，我一直在实践中继续我在这方面的研究，利用圈子/Cinenova成员使用的各种媒体，制作与我的书面论文对话的移动图像和行为作品。这些作品还回应了圈子/Cinenova成员的主题关切，如妇女健康、心理健康、工作和形式主义。例如，我在Super 8上使用相机内编辑拍摄了《迷失的时间》(2014)。影片主打胶卷质感，映照感官愉悦，比如一只手踩过粗糙的树皮，一只脚踩在酥脆的树叶上，带着观看Super-8电影本身的颗粒状质感的体验。在Tower/Garden(2017)中，(带有数字配乐的35 mm幻灯片投影)探索的关键主题是社会清洗、士绅化、住房危机、心理健康和零时合同。在《破点》(2018)(演出)中，家庭与工作空间的紧张、创造与破坏、严肃与荒诞是作品的前沿。在表演中，我摇摇欲坠地将陶器堆放在空间内基座的边缘和MDF墙的顶部边缘，最终导致大多数物品被打破。

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.