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Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for

Intersectional, intergenerational, and international perspectives on nonfiction filmmaking by women, generously illustrated, with film stills and other images.This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle―a way of not only picturing the world but remaking it. The contributors consider key decolonial filmmakers, including Trinh T. Minh-ha and Sarah Maldoror; explore collectively produced films with ties to women’s liberation movements in different countries; and investigate the cinematic expressions of tensions and alliances between feminism and anti-imperialist

Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for

Once at the margins of the art world, film now occupies a prominent place in museums and galleries. Exhibiting Cinema in Contemporary Art explores the emergence of cinema as a primary medium of artist

Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illus

This book, which accompanies a major exhibition at the National Portrait Gallery, considers Cindy Sherman’s oeuvre through the lens of portraiture. Featuring key examples of her work – from her earlie

An in-depth study of the expanding role of the moving image in British art over the past thirty years Over the past three decades the moving image has grown from a marginalized medium of British art i

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphi

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphi