Tag Archives: film

Kinetic Connections – Laura Mulvey reflects on her career as avant-garde filmmaker and feminist film critic

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This post was contributed by Felicity Gee, Department of Media Arts, Royal Holloway, University of London.

On February 7th, The Birkbeck Institute for the Humanities held an afternoon event in celebration of Laura Mulvey and her influential body of work; and, as you would expect, every seat in the lecture theatre was taken. I came to Mulvey’s work via the same route that I imagine most film students to have taken, through her famous 1975 Screen essay ‘Visual Pleasure and Narrative Cinema’. The Birkbeck event, chaired by Ian Christie (Birkbeck), was a semi-retrospective of Mulveyan dialectics in feminisim and psychoanalysis, but also a look forward to new developments in film analysis. For me, the most stimulating segment was Mulvey in conversation with A.L. Rees (ICA) discussing avant-garde filmmaking in London during the late 1970s and early 1980s, an account which also seemed to prompt the majority of questions from an enthused audience.

AMY! Laura Mulvey and Peter Wollen, 1980, Colour 30 mins.

AMY! Laura Mulvey and Peter Wollen, 1980, Colour 30 mins.

This fascinating discussion peppered with frank anecdotes regarding the political climate and funding for film projects in the UK, was accompanied by a rare screening of Mulvey’s film Amy! Using melodrama’s gestural form and a self-conscious avant-garde aesthetic, the film examines the rise to stardom of the first woman to fly solo from Great Britain to Australia, Amy Johnson. Mulvey explained how she was inspired by Brecht’s dictum ‘Happy the lad that needs no heroes’, adjusting it to ‘Happy the feminism that needs no heroines’ for her portrait of Amy.  The film offers imagined scenes dramatising Amy’s reluctance to embody the role of newspaper sensation or national heroine, which are intercut with newsreel footage of the ‘real’ Amy’s public reception, ironically delivered ‘broadcast’ of newspaper headlines, and black and white footage from student film seminars. It is a collection of disparate segments that are juxtaposed to reveal Amy’s private and public identities to tragi-comic effect.

I particularly enjoyed Mulvey’s confessional anecdote on how her ‘naïve optimism’ and penchant for symmetry are thrown ‘off-kilter’ by co-director Peter Wollen’s canted patterns of composition, a combination which, for me, gives the film its counter-narrative politic while retaining a certain pathos. Mulvey’s insights into her work as a filmmaker surely augment any discussion of aesthetics and spectatorship in her more widely known film criticism. Her films have certainly been under-researched, and I hope this event will encourage scholars to engage with them further.

The session concluded with a demonstration and discussion of ideas from Mulvey’s 2006 book, Death 24x a Second, commencing with a short segment from Douglas Sirk’s Imitation of Life that had been stretched and slowed through freeze-framing. The video aims to reveal ‘hidden’ aspects of the film using this strategy of fragmentation, and effectively illustrates how ‘the opposing iconographies’ of spectacular and maternal femininity are staged. The Mulvey day traced a complete cycle from the manipulation of images by the filmmaker, to the suggestion that manipulation of the image now lies as much with the spectator, who has much greater control over how the film is screened. Pausing, stretching, cropping, and repetition of cinematic time is made possible by new digital formats and file sharing systems, and alters how the gaze and linear narrative function.

By the end of the session I was left slightly hypnotised by a palimpsestic image of Marilyn Monroe that had been contorted and drawn out by Mulvey’s hand, and left to repeat endlessly in the ‘twilight zone’[1] – the enigmatic celluloid repository of cultural history.

[1] Mulvey applies Eric Hobsbawm’s ‘twilight zone’ (the point at which personal memory disappears into history) to cinema: ‘On celluloid, personal and collective memories are prolonged and preserved, extending and expanding the “twilight zone”, merging individual memory with recorded history’. (Death 24x a Second: Stillness and the Moving Image, 2006, 25).

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Watching J’Accuse (1919)

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This post was contributed by Dr Ludivine Broch, an Early Career Research Fellow at the Pears Institute for the Study of Antisemitism

‘With the creation of J’Accuse (1919), a new epoch in the life of Abel Gance and in the history of the French cinema begins.’
– Welsh & Kramer (1975)

The French History Network is showing its first film of the 1914-45 in Cinema film series at the Birkbeck next Friday evening. It will start at 18:00, in the Cinema at 43 Gordon Square. Feel free to bring wine & nibbles to share before the film starts.

The chosen film is J’Accuse, which was directed by Abel Gance in 1919. Gance is the director who also directed Napoleon (1927), a film I have not  seen yet – although I plan to do soon.

J’Accuse is a wonderful way to launch the 1914-45 film series. Technically, it was a pioneering work in the dawn of the age of cinema. Politically, it was an anti-war stand. Culturally, it captured the great malaise of post-WW1 France. The last scene is infamous: the ghosts of the ‘unknown soldiers’ who died for France come back to haunt a population who has not understood their sacrifice, who has not honoured their deaths, who has not realised the extent of the death, the loss, and the horror of what happened. Had these men died in vain? 

Gance’s final scene highlighted many of the tensions between ‘anciens combattants’ and civilians which existed in WW1. This is a theme which Henry Barbusse had already picked up on in Under Fire (1917). When one of his characters returns to the front following a few weeks of leave, he is boiling with anger at the French population who complains about the war, about rations, about daily struggles. Their woes, which lie in such sharp contrast to the horrors of the trenches and of the front line are ridiculed, belittled, tossed aside as meaningless and idiotic. More than that, the men on the front begin to feel isolated from the rest of France. Experiences in the trenches create an ever-growing gap between soldiers of modern warfare and civilians. Even railway workers, who were involved in the military effort but exempt from military service, were criticised for not being ‘real’ front line soldiers. Many felt railwaymen had gotten off lightly. To defend themselves, railwaymen constantly argued that, although they were not front line soldiers, they were ‘soldiers of industry’, risking their lives during peacetime as well as wartime.

But J’Accuse also marked the beginning of a widespread phenomenon: the commemoration of the dead. Far from being forgotten, the ‘anciens combattants’ haunted France’s landscape throughout the interwar period. Street names, memorials, ceremonies, associations… physical reminders of their death were everywhere. This of course was not a purely French phenomenon: Britain and Germany also experienced a vivid and tangible commemoration process.

To fully grasp the trauma of post-WW1 France, come along to watch J’Accuse on 1 March 2013. For, in my view, if anything can explain the start of WW2, and the development of post-war Europe, it is first and foremost the remains of a fragmented society in 1918.

To further contextualise J’Accuse, I would recommend the following articles:

  • Joëlle Beurier, ‘La Grande Guerre au Cinéma’, Vingtième Siècle, n.108 (Oct-Dec 2010)
  • James M. Welsh & Steven Philip Kramer, ‘Abel Gance’s Accusation against War’, Cinema Journal, vol. 14, n°3  (Spring, 1975)
  • David Williams, Media, Memory and the First World War (McGill-Queen’s University Press, 2009)
  • Jay Winter, Sites of Memory, Sites of Mourning: The Great War in European Cultural History (1995)
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Post-War and Post-Olympics: East London, Architecture and Regeneration, Across the Generations

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This post was contributed by Dr Leslie Topp, Senior Lecturer in the History of Architecture in Birkbeck’s Department of History of Art and Screen Media.

What is regeneration? What builds community? And who defines and steers these processes? Architects, planners, politicians, the public? The cold post-Olympic winter, with the built and planned legacy of those games forming around us, seemed a good time to bring local people together to discuss these questions. The day workshop, which was held at the historic House Mill in Bromley-by-Bow on 23 February 2013, was a collaboration between Fundamental Architectural Inclusion, an architecture centre based in Newham, and Birkbeck’s Department of History of Art and Screen Media. Funding was generously provided by the Association of Art Historians Initiatives Fund.

The 10 participants were drawn from the first and second years of Birkbeck’s innovative Certificate in HE in Understanding Visual Arts, which is run out of the Rosetta Art Centre in Newham, and the group of young people which Fundamental works with in initiatives like the Architecture Crew and the Legacy Youth Panel, who are regularly consulted on regeneration plans around the Olympics and its legacy.  All local to East London (Newham, Tower Hamlets, Hackney, Waltham Forest), the workshop participants had experienced the current wave of regeneration first hand, and knew too the experience of living in the neighbourhoods and estates built in the post-war years.  They were also (the Birkbeck students) well versed in cultural history, and (the Fundamental participants) in architecture and planning, and the combination of life experience, knowledge and confidence in discussion made for a stimulating and compelling day.

We watched two films, both dealing with ambitious utopian plans for the rebuilding of large sections of Newham. One was made in 2008 by the Architecture Crew, a group of young people 13-19 years old, who Fundamental was working with. The other was made in 1948, by the then West Ham Borough’s Architecture and Planning Office, about the plans for rebuilding West Ham after the extensive destruction caused by the 1940-41 air raids.  One of the most striking differences between them, which emerged strongly through the subsequent discussions, was that while the first offered a ‘bottom up’ perspective, and was a critical enquiry by some of the people who’d be most strongly affected by the regeneration, the second was a piece of ‘top down’ propaganda, representing an ‘experts know best’ position. A lively debate broke out about the extent to which things had or had not changed in this respect since the post-war era. Some argued that while lip service is paid to community consultation, the ‘community’ has very little actual impact on the plans that are carried out. Nick Edwards, the director of Fundamental, and the young people who came along to the workshop, gave a nuanced sense of the particular ways in which people could have an impact on plans (though it was clear that to do this involved a considerable sustained effort over a long period of time.)

Another topic that kept cropping up was mobility. On the one hand, as one participant pointed out, East London has always been a place people move on from when they had the means to do so. Others wondered though whether that may now change – with the regeneration around the Olympics, East London had the potential now to be a place where people would want to stay, or come back to. But the new transport infrastructure, and the increased opportunities to move around, (including Birkbeck’s own courses, such as the Cert HE Understanding Visual Arts, that bring students out to East London and into Bloomsbury) mean that East London is now more connected than ever to the world beyond it. The parts of East London that had been very separate from each other, with some people never venturing much beyond their immediate neighbourhoods, had become more interconnected as well. The homogeneity and static, inward looking quality of the post-war estates (seen as the height of modernity in the 1948 film) were being directly challenged by the latest wave of regeneration.

An extra unexpected treat at lunchtime – enthusiastically taken up by all the workshop participants, despite the cold – was a tour around the Grade One listed 18th century House Mill. History in East London doesn’t begin with the Blitz!

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“Visual and other pleasures” by Laura Mulvey

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This post is contributed by Dr. SE Barnet, an artist and Associate Lecturer at Central St. Martin’s

BIH Celebrates Laura Mulvey, Saturday 9 February 2013

One of the most enjoyable aspects of this event was the informal atmosphere of the day.  Laura Mulvey’s friends and colleagues gave a series of introductions, each introducer introducing the next introduction, acknowledging their near parody in doing so. Familiar names and faces filled the room, and of course, references to pleasure were not overlooked.

The other delight of the afternoon was seeing Mulvey’s films and videos, most of which can be difficult to find, outside of ubuweb. Seeing her videos Marilyn and on Imitation of Life were a treat, as was her extemporaneous commentary over a clip from Godard’s Le Mépris (Contempt). Her wealth of cinematic knowledge opens up film scenes to richer readings and interpretations. The term palimpsest cropped up frequently in her presentations and for good reason. Mulvey highlights what is hidden in plain sight. Commenting on a background of movie posters papering the wall behind Fritz Lang’s character of the director in Le Mépris, she enlightens us to Godard’s own influences and cinephilia of the 1950s Hollywood studio system. The film as palimpsest is not the pentimento of the painting. These traces are intentional, not reversed or negated.

Brecht’s influence was a central theme over the course of the event as well.  In Mulvey’s video on Douglas Sirk’s film Imitation of Life, she shows us the Brechtian gesture of Sirk’s mise-en-scène. Not only does she focus on the camera’s lingering close up of Lana Turner’s legs in the crane shot at the beach and the subsequent emphasis on Turner’s breasts, but through her slowing down and stopping of the scene, Mulvey shows us something quite extraordinary. With this viewing technique she demonstrates Sirk’s contrasting representations of women; white/black, spectacle/ordinary, negligent/maternal. And then she stops the scene on a frame that viewed in normal time would last less than a second. Behind Turner, in the background, a young, well-dressed black woman has taken Turner’s previous position on the stairs. And just as Turner was photographed by the man at the foot of the steps, so is this woman. Is Sirk covertly suggesting a black woman may assume a sophisticated role comparable to a white woman? This would have been a radical presentment for 1950s America. Then Turner sweeps back to the steps, knocking into the photographer as she does, re-instating her place.

The access Mulvey provides to these hidden gems comes as a result of what she describes as her preferred viewing experience. She insists a first viewing should be linear, from start to finish. But then, the viewer should let her instinct guide her viewing, lingering over those moments that pervade and prickle. Slow down and stop. Repeat. Reviewing as a methodology of informing the viewership. And then she should return to the linear viewing, now educated into the language of the film, able to derive fully the pleasure offered.

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