Indiscretions: Avant-Garde Film, Video and Feminism

264 Pages·1990·9.857 MB·English

by  Patricia Mellencamp

A Midland Book MB 587

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INDISCRETIONS
Indiscretions:
Avant-Garde Film, Video, & Feminism
is Volume 12 in the series
THEORIES OF CONTEMPORARY CULTURE
Center for Twentieth Century Studies
University of Wisconsin-Milwaukee
General Editor, KATHLEEN WOODWARD
II
Jt
Patricia Mellencamp
INDISCRETIONS
AVANT-GARDE FILM, VIDEO, & FEMINISM
INDIANA UNIVERSITY PRESS
Bloomington and Indianapolis
V V'\} ^
“Video Politics" was published in Discourse 10, no. 2
(Spring-Summer 1988); another version appeared in Global Television, edited
by Cynthia Schneider and Brian Wallis (New York: Wedge Press, 1988).
“Postmodern TV" appeared in Afterimage 13, no. 5 (December 1985).
"Uncanny Feminism" was in Afterimage 14, no. 4 (September 1986) and
Framework (November 1986). "Images of Language and Indiscreet Dialogues"
was in Screen 28, no. 2 (Spring 1987). A long version of "Last Scene in the
Streets of Modernism" was published in Fast-West Film journal 3, no. 1
(December 1988).
© 1990 by Patricia Mellencamp
All rights reserved
No part of this book may be reproduced or utilized in any form or by
any means, electronic or mechanical, including photocopying and
recording, or by any information storage and retrieval system, without
permission in writing from the publisher. The Association of American
University Presses' Resolution on Permissions constitutes the only
exception to this prohibition.
The paper used in this publication meets the minimum requirements of American
National Standard for Information Sciences—Permanence of Paper for Printed
Library Materials, ANSI Z39.48-1984.
@™
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Mellencamp, Patricia
Indiscretions : avant-garde film, video & feminism / Patricia
Mellencamp.
p. cm.
Includes bibliographical references (p. ).
ISBN 0—253—33743—7 (alk. paper).—ISBN 0—253—20587—5 (pbk. : alk. paper)
1. Experimental films—History and criticism. 2. Feminism and
motion pictures. I. Title.
PN1995.9.E96M45 1990
791.43'0973'09047—dc20 89-45804
1 2 3 4 5 94 93 92 91 90
CIP
GRATITUDE
My friends and colleagues who have shared their knowledge, eccentricities,
and friendship with me populate this book. Of my Milwaukee connections,
particularly Stephen Heath, in various seminars from the late 1970s to early
1980s, has deeply influenced my thoughts about Hollywood film (whose his¬
tory I teach, along with other national cinemas, in my everyday life) while
Teresa de Lauretis, during her lengthy tenure in Milwaukee, existed as a fem¬
inist friend of stylish inventiveness and intellectual rigor. My colleagues in
the Film Department, Bob Nelson, Dick Blau, and Rob Danielson, share my
great respect for these films. My friends in the Modern Studies program, Her¬
bert Blau and Kathleen Woodward, share my fascination with artists. Patrice
Petro shares my love of cinema. Meaghan Morris is, pedagogically speaking,
all of the above.
To Rob and Dae Mellencamp, extraordinary human beings, who sup¬
ported me into writing a book and then left for college, and who live in fear
of my sentimentality and weepy declarations of respect and love; to Peg and
Bob Jewson, who gave me a happy history which included strong, working
women and constant support, and who funded and upscaled my daily life;
to Nancy Mooney, the best of all sisters, who shared my past and advises my
present; to Marge and the women of New Day, love and gratitude. This book
is dedicated to you, and to my sidekicks, B.P. and Baggins.