1. Feminist counter cinema
– does this film address me as a woman?
– does it employ some sort of re-vision?
Strategies
– disjunction between image and voice
– new kinds of narrative space
– creating a subjective space
– new forms of address
– redefining public and private
– creating a new language of desire

2. “Maedchen in Uniform,” Leontine Sagan, 1931

3. “Jeanne Dielman,” Chanal Akerman, 1974

4. “Born in Flames,” Lizzie Borden, 1983

5. “A Question of Silence,” Marlene Gorris, 1981

7. Feminist video art, 1970s
– process-oriented work
– documentary
– performance
– experimental narrative

8. “Joan Jonas,” Vertical Roll, 1972

9. “All Vision,” an electro/opto/mechanical environment,
Steina Vasluka, 1976

10. Feminist video art, 1980s + 1990s
– video essays
– personal diary, confessional pieces
– installation
– experimental narrative

11. “Trick or Drink,” Vanalyn Green, 1985

12. Feminist Net-based art
and interactive media art
1990s

13. VNS Matrix. 1991-1997

14. VNS Matrix, Cybermanifesto for the 21st Century, 1991

15. VNS Matrix: Bitch Mutant Manifesto

16. OBN: Old Boys Network, 1997-2003

17. “F-e-mail,” Victoria Vesna, 1998
F-e-mail & Beyond is part of an evolving network of women working
on top of the Grid, in the Belly of the Beast...Women artists working
with this network are serving as role models helping debunk the
mythology which is alienating women from technology.

18. “She Loves it, She Loves it Not,” Christine Tamblyn, 1993

19. “Mistaken Identities,” Christine Tamblyn, 1996

20. “Mauve Desert,” Adriene Jenik, 1997

21. “Brandon,” Shu Lea Cheang, 1998

22. “Mythic Hybrid,” Prema Murthy, 2002

23. “Mythic Hybrid,” Prema Murthy, 2002

24. Lynn Hershman Leeson

25. Lynn Hershman Leeson
– performance

26. “Dante Hotel,” Lynn Hershman Leeson, 1972.

27. “Roberta’s Construction Chart #1,” Lynn Hershman Leeson, 1974.

28. “Roberta Meeting Blaine,” Lynn Hershman Leeson, 1975.

29. Lynn Hershman Leeson
– performance
– interactive media

30. “Lorna,” Lynn Hershman Leeson, interactive artwork, 1979-1984.

31. “Lorna,” Lynn Hershman Leeson, interactive artwork, 1979-1984.

32. “Deep Contact: The First Interactive Sexual Fantasy Videodisc,”
Lynn Hershman Leeson, interactive artwork, 1979-1984.

33. “A Room of One’s Own (Echo Narcissus),” Lynn Hershman Leeson,
interactive artwork, 1990-1993.

34. “This device, an alliance between the phonograph and the
photograph, was designed so that a single spectator could peep
through an eyehole and see film loops. Known as the peep show,
spectators took pleasure in the process of voyeuristically viewing
seductive images of women.
The gun/camera has had a direct relationship not only on this
history of film and the eroticization of female imagery in
photography and phonography, but also in pornography.
Women are taught to be looked at. In contemporary society this
is interpreted as a manifestation of desire. Yet such objectifying
observation triggers ideas of ownership and consumption. So with
the association of gun to camera to trigger, the representation of
women is linked quite literally to lethal weapons.
If cinema is a social technology, then the captivity of woman as
subject and subject-victim through this medium situates women
into precoded identities. Their submissive position is implicated
into the construction of fantasy, and is positioned (ob)scenely….”

35. Lynn Hershman Leeson
– performance
– interactive media
– photography

36. “Phantom Limb Photographs,” Lynn Hershman Leeson, 1980-
1990.

37. Lynn Hershman Leeson
– performance
– interactive media
– photography
– video

38. Lynn Hershman Leeson
– performance
– interactive media
– photography
– video
– feature films

39. “Binge,” part 2 of a 3-part series titled “Electronic Diary,” Lynn
Hershman Leeson, video, 1987.

40. “Desire Inc.,” Lynn Hershman Leeson, video, 1990.

41. “Seduction of a Cyborg,” Lynn Hershman Leeson, video, 1994.