The Female Gaze Was bedeutet es heutzutage, eine weibliche Perspektive einzunehmen? Eine weibliche Perspektive bedeutet einen alternativen Standpunkt zur normalen Sichtweise einzunehmen. Doch was ist eine normale Sichtweise? Und wer kontrolliert diese? Ihr fehlt die eigene Handlungsmacht. Auf Film gebannt, von der Kamera geschossen. Ein wiederbelebtes, vom vermeintlichen Tod wieder auferstandenes Subjekt. The Female Gaze widmet sich untervertretenen Gruppen und Themen aus weiblicher Perspektive und gibt ihnen eine Stimme.
Das Programm bietet alternative Sichtweisen, eine Umkehrung von Kontrollmechanismen, ein transformatives Erlebnis. Die Protagonistinnen dieses Programms sind starke Frauen in der postkolonialen Welt, einander schwesterlich verbunden. Kontext des Islam. Der Film zeigt die Audition mit ausschliesslich indischen Expat- resp. Blick umgeleitet.
Alternative Geschichten entdeckt. Delphine Jeanneret, Valentina Zingg. The Female Gaze What does it mean to take a female perspective today? Why is the female gaze important, why should we care?
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To take a female perspective today means to take an alternative point of view to the one normally assumed. But what is a normal point of view? And who controls it? Points of view reveal sometimes hidden power relations and hierarchies. For example, when a male cinematographer shoots a female actress, he lets her perform for him. She does not have any agency of her own.
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Shot on camera. Caught on film. The female gaze, then, frees the fetishized female object, and transforms it into an armoured subject, safe from ever being shot again.
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A subject that is revived, resurrected from the assumed dead. The resurrected female, however, is not simply the adversary of her male counterpart in a binary gender order. Rather, we suggest seeing the female in reference to a broader battleground, that is, to all the underrepresented groups whose agency has been stripped away by a male-dominated, heteronormative, and Eurocentric worldview.
The Female Gaze looks at — and gives a voice to — underrepresented groups and topics from a female perspective.
The programme offers an alternative point-of-view, a reversal of control, a transformative experience. The protagonists of this programme are strong women, rooted in sisterhood, living in a postcolonial time. They are mothers, they are daughters, and they call the UK their home. In it, London-based filmmaker Onyeka Igwe explores contemporary Nigerian diasporic female identity. The film shows the audition featuring only Indian expat and British-Asian women. Whittle repossesses and repurposes a space that used to be owned by a slave-trading tobacco lord through her performance in the space.
Point taken. Gaze redirected. Alternative narratives found.
Onyeka Igwe is an artist, filmmaker, programmer, and researcher born and based in London. Rehana Zaman b. She works with moving images and performance. Her work is concerned with the effect of multiple social dynamics on how individuals and groups relate. These narrative-based pieces, often deadpan and neurotic, are frequently generated through conversation and collaboration with others. Michelle Williams Gamaker b. The film chronicles the life of Ghanaian housing activist Dora Boatemah and her influence on the regeneration of the Angell Town estate in Brixton, South London.
Ayo Akingbade is an artist and filmmaker born in Hackney; she lives and works in London. Ayo studied film at the London College of Communication. In her work she experiments with a range of media.
Much of her present focus is on the daily lives of her subjects and on psychogeography. Alberta Whittle Voice has become a new means of introducing themes of memory, history, and loss into my films. Moving to the UK from Barbados meant that my understanding of history, which was related to inherited memories of my ancestors and living family, but also from history taught in school, was suddenly invalid, erased, and invisible.
This realization that memory and history do not always intersect motivates my film practice. Alberta is the recipient of the Margaret Tait Award. Entsprechend reiht sich dieses Programm in die britische Kinotradition des sozialen Realismus ein. Valentina Zingg. Accordingly, this programme joins the British cinematic tradition of social realism, with the films reflecting the highs and lows of British society as they are experienced by the young.
The adventures of the young misfits serve to give the viewer insight into the lives of fairground people, their hustle and struggle. Director Jed Hart presents a blunt look behind the neon advertising lights, pop music, and candy floss of the fairground. Writer and director Ayo Akingbade combines deliberations on the city with youthful wishes for a happy future. The short film contrasts intimate moments of student life with a strict boarding school routine.
On a farm, we witness a tale of young seduction that ends in a thrilling finale and a look at troubled adult family life.
Whether runaways, children of the streets, or students — the kids in this programme all have one thing in common: they are experimenters. And so are the filmmakers as they address contemporary social issues through stories of adolescence. Die junge Ausreisserin Jasmine wird von Showman Shane aufgenommen, der mit einem Jahrmarkt unterwegs ist. Jasmine, a young teenage girl on the run, is taken in by Shane, a showman who works on a travelling fairground passing through town. As an unorthodox bond between the pair builds, their combined quest to evade the past pushes both characters closer together, and in turn, closer to danger.
His main interest is in smart, visually striking genre films, and he has a proven track record in getting the most from low budgets. Der in Cannes im Sommer mit viel Pomp gefeierte Kurzfilm entpuppte sich als internationaler Festivalhit. The film, received with much pomp at Cannes in , became an international festival hit. Doch Reg reagiert anders als erwartet. Reg is a lonely girl at a remote Scottish boarding school where paranoia about rape is rife.
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The unorthodox self-defence class provides the human touch she craves so deeply. When she is attacked in the woods, she knows what she has to do Together, they founded the production company Connolly Clark Films. He has also produced commercials for several brands. He continues to expand his practice, developing feature films and television projects.
Und doch stimmt etwas nicht. Als er in Zeitlupe den Rockabilly-Club betritt, begegnet er ausdruckslosen Gesichtern. He has prepared everything so well: his loafers are polished, his hair thoroughly combed back, his quiff meticulously arranged.
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And yet, something is not quite right. As he enters the rockabilly club in slow motion, everyone gives him a deadpan stare. He has to drink his coke alone; the girl leaves the dance floor the moment he steps onto it; the barman looks straight through him. Thank goodness some lads can rebrand him with the right style.
She has won several prizes for her commercials. So erweist sich die vermeintliche Sehnsucht der Insulaner nach Einsamkeit und Isolation zuweilen als Trugschluss. Die Natur wird selbst zur Protagonistin im.
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