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TAGGED: experimental
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Cheap Blonde

This experimental film rearranges the same sentence 22 times: ‘A famous filmmaker said: “Cinema is the history of men filming women”’, while deconstructing the video image of a woman bathing in a w

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Night Cries: A Rural Tragedy: The outhouse

An old woman is pushed in a wheelchair by her Aboriginal daughter (Marcia Langton) along a trail lined with rocks. They come to a stop by an outside toilet. The Aboriginal woman waits.

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Night Cries: A Rural Tragedy: A baby cries

A mother sits holding her daughter, cradling her on her lap. A soft light falls over them. Beyond the light is darkness.

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Night Cries: A Rural Tragedy: Washing feet

A pair of frail, gnarled feet. The Aboriginal daughter (Marcia Langton) on her hands and knees, gently washes her white mother’s arthritic feet.

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We Aim to Please: Women's image

The filmmakers draw the title of the film on their naked bodies. By throwing a tomato on the lens, they remind the viewer that all images are constructed.

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Maidens: A new sisterhood

In a montage of footage from 1970s feminist films, interlaced by narration and music, the clip proposes the notion of a new sisterhood. Summary by Adrienne Parr.

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Maidens: 'The Butchers of Invermay'

Using still photographs, personal narration, quoted correspondence and music, the mid-20th century history of the maternal side of the filmmaker’s family is detailed.

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We Aim to Please: Violence

This clip juxtaposes the sounds of heavy breathing, a party with male voices and wolf whistling against the images of women’s faces, a bedroom with a woman in bed, and the ground outside, setting u

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Maidens: 'The Lettes of Willow Glen'

Using still photographs, personal narration, quoted correspondence and music, the early 20th century history of the maternal side of the filmmaker’s family is detailed.

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Epsilon: Thinking about hormones

The man (Syd Brisbane) laughs at the way his life is turning out, as the woman (Ulli Birvé) keeps changing locales, at her whim, from desert to forest to mountaintop.