Workshop

Read them like a girl

Workshop on film analysis with a gender perspective.

Date 14/10/24

Time 18:00 – 20:00h

Venue BBK Kuna

A space in which the history of images questions itself and asks questions.

We want it to be a space in which the history of images questions itself and asks questions, aimed at people who are interested in learning or expanding their knowledge of audiovisual creation and analyzing the criticism of images from a gender perspective. We have thought the approach to the understanding of images from the analysis of shots and scenes of some mythical films and other more contemporary ones to approach the criticism of images from a gender perspective.

How to read an image? What is the feminist perspective? Can an image be feminist? And, sexist?

Our idea is to put one image next to the other, to see how images are transformed. To see how these old images can become new under the shelter of new discourses. We propose a journey through different audiovisual productions to reflect, investigate and discuss the contributions of gender perspectives and feminist theories to film studies. We are interested in exploring different spaces of contact between cinema and feminism, which activate a set of themes and figures such as: gaze and beauty; other-maternities and space-ecology; writing and intimacy; performances and mutations; complicities and disobediences; landscapes and also affections distributed in two sessions.

a Session: What is the gender perspective? How to read an image? Neither sexist nor feminist.
a Session: against the canon, can we send Hitchcock to hell? and Rohmer? what’s left when there’s nothing left?
Filmography to be addressed
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)
Repulsion (Roman Polanski, 1965)
Last Night In Soho (Edgar Wright, 2021)
Thelma and Louise (Ridley Scott, 1991)
TÁR (Todd Field, 2022)
La abuela (Paco Plaza, 2021)
X (Ti West, 2022)
The Silence of the Lambs (Jonathan Demme, 1991)
Rohmer’s cinema
The Life of Adèle (Abdellatif Kechiche, 2013)

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