Cinenova is a non-profit organisation based in London, dedicated to distributing films and videos made by women. [1] [2] Formed in 1991 from the merger of two feminist distributors, Circles and Cinema of Women, Cinenova was founded to help promote experimental films, narrative feature films, artists film and video, documentary and educational videos. [3]
Cinenova also has an archive fund relating to film and video directed by women, with a focus on the UK independent film. [4] [5]
A documentary film or documentary is a non-fictional motion picture intended to "document reality, primarily for instruction, education or maintaining a historical record". Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".
The Texas Chain Saw Massacre is a 1974 American independent horror film produced, co-composed, and directed by Tobe Hooper, who co-wrote it with Kim Henkel. The film stars Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, and Gunnar Hansen. The plot follows a group of friends who fall victim to a family of cannibals while on their way to visit an old homestead. The film was marketed as being based on true events to attract a wider audience and to act as a subtle commentary on the era's political climate. Although the character of Leatherface and minor story details were inspired by the crimes of murderer Ed Gein, its plot is largely fictional.
The action film is a film genre that predominantly features chase sequences, fights, shootouts, explosions, and stunt work. The specifics of what constitutes an action film has been in scholarly debate since the 1980s. While some scholars such as David Bordwell suggested they were films that favor spectacle to storytelling, others such as Geoff King stated they allow the scenes of spectacle to be attuned to storytelling. Action films are often hybrid with other genres, mixing into various forms ranging to comedies, science fiction films, and horror films.
Video nasty is a colloquial term popularised by the National Viewers' and Listeners' Association (NVALA) in the United Kingdom to refer to a number of films, typically low-budget horror or exploitation films, distributed on video cassette in the early 1980s that were criticised by the press, social commentators, and various religious organisations for their violent content. These video releases were not brought before the British Board of Film Classification (BBFC) due to a loophole in film classification laws that allowed videos to bypass the review process. The resulting uncensored video releases led to public debate concerning the availability of these films to children due to the unregulated nature of the market.
Lesbian erotica deals with depictions in the visual arts of lesbianism, which is the expression of female-on-female sexuality. Lesbianism has been a theme in erotic art since at least the time of ancient Rome, and many regard depictions of lesbianism to be erotic.
The London Film-makers' Co-operative, or LFMC, was a British film-making workshop founded in 1966. Its annual BFI Regional Film funding as a Limited Company and Registered Charity was withdrawn in 1999, without notification of its membership. The Arts Council of England sought to force the amalgamation of the London Film-makers Co-operative Distribution Archive with London Electronic Arts formerly London Video Access to form Lux Ltd. In less than one financial year the limited company set up by the Arts Council went into liquidation, resulting in the sale of its assets by Price Waterhouse Cooper. London Film-makers Co-op life members with legal advice gathered together proofs from key members including founder members of donated items of workshop and film projection equipment. With legal documentation those items were successfully withdrawn from the Price Waterhouse Cooper sale. However the Arts Council refused to release the contact details of over 200 members so that an urgent General Meeting could be called to prevent the unlawful confiscation and retention by the Arts Council of England and its paid appointees, of the Distribution Archive collection and the film processing, printing, editing and cine projection equipment.LUX.
Valie Export is an avant-garde Austrian artist. She is best known for provocative public performances and expanded cinema work. Her artistic work also includes video installations, computer animations, photography, sculpture and publications covering contemporary art.
Shirley Clarke was an American filmmaker.
Lucy Thane is a British documentary filmmaker, event producer and performer, living in Folkestone. Her films include It Changed My Life: Bikini Kill in the UK (1993) and She's Real (1997).
Mexploitation is a film genre of low-budget films that combine elements of an exploitation film and Mexican culture or portrayals of Mexican life within Mexico often dealing with crime, drug trafficking, money and sex.
Amazones d'Hier, Lesbiennes d'Aujourd'hui is the name of a quarterly French language magazine published starting 1982 by a lesbian collective in Montreal made of Louise Turcotte, Danielle Charest, Genette Bergeron and Ariane Brunet.
New French Extremity describes a range of French transgressive films made at the turn of the 21st century that sparked controversy, and provoked significant debate and discussion. were notable for including graphic images of violence, especially sexual violence and rape, as well as explicit sexual imagery.
An auteur is an artist with a distinctive approach, usually a film director whose filmmaking control is so unbounded and personal that the director is likened to the "author" of the film, thus manifesting the director's unique style or thematic focus. As an unnamed value, auteurism originated in French film criticism of the late 1940s, and derives from the critical approach of André Bazin and Alexandre Astruc, whereas American critic Andrew Sarris in 1962 called it auteur theory. Yet the concept first appeared in French in 1955 when director François Truffaut termed it policy of the authors, and interpreted the films of some directors, like Alfred Hitchcock, as a body revealing recurring themes and preoccupations.
Dr Jill Daniels is a British independent filmmaker and a Senior Lecturer in Film at University of East London.
Women Are Better Diplomats is a 1941 German musical comedy film from the Nazi era. Directed by Georg Jacoby and starring Marika Rökk, Willy Fritsch and Aribert Wäscher. It was based on a novel by Hans Flemming. The film was the first German feature film to be made in colour, and was one of the most expensive films produced during the Third Reich. The film met with a positive public response and was among the most popular German films of the early war years.
Circles was a feminist film and video distribution network in the UK, which was set up out of a desire to distribute and screen women's films on their own terms. It was founded in 1979 by feminist filmmakers Lis Rhodes, Jo Davis, Felicity Sparrow and Annabel Nicolson, publishing a 1980 catalogue including about 30 films, and it closed in 1991, largely due to funding issues that also prompted the merger of Circles and Cinema of Women, which led to the formation of Cinenova. A previous funding crisis in 1987, when funding by Tower Hamlets council had been withdrawn, had been resolved with replacement funding from the British Film Institute.
Sarah Turner is a British artist, filmmaker, writer, curator and academic. Her moving image work is known for its preoccupation with form and its interplay between abstraction and narration.
Four Women is a 1975 short experimental film produced and directed by Julie Dash featuring music by Nina Simone.
Marina Vishmidt was an American writer, editor and critic. She lectured at the Centre for Cultural Studies at Goldsmiths, University of London in the MA program Culture Industry, and taught Art Theory in the MA Art Praxis at the Dutch Art Institute in Arnhem. Her research mainly concerned the relationship between art, value and labour. She further explored this through works on debt, social reproduction and artistic entrepreneurialism. In 2013, she completed her PhD entitled Speculation as a Mode of Production in Art and Capital at the Queen Mary University of London. In the Summer Semester, 2022, Vishmidt was the Arnheim Visiting Professor at the Institut für Kunst- und Bildgeschichte at the Humboldt-Universität zu Berlin. In October 2023 she started a new position as Professor for Art Theory at the University of Applied Arts Vienna. Vishmidt died on April 26, 2024 after a long illness.