This film by Mark Fell and Luke Fowler is a commission by the Pavilion and Hyde Park Picture House. The film was premiered at the Picture House on November 22nd: there will be further screening throughout the year. The cinema and the Pavilion have already collaborated on several art projects, revolving in some way round film and cinema. The audience was welcomed by Wendy Cook, General Manager of the Hyde Park, and Gill Park, the Director of the Pavilion. Gill commented that the Pavilion tends to works that ‘rub against the grain’, certainly the case with this film. Essentially the film is an example of montage – often rapidly changing and frequently discontinuous images and sound. The material in the film is worked up from an Archive project, including photographs, reports, minutes, publicity and associated materials, to which have been added, contemporary film, interviews and contemporary sound.
The Pavilion project was sited in the Park alongside the main Leeds University Campus and opened in 1983, and has just celebrated the thirtieth anniversary.
The Pavilion was formed in 1983 with the stated aim of being the first photography collective dedicated to representing and supporting the production of women’s photography. Against a backdrop of heightened social, political and economic conflicts, the Pavilion set about turning the prevailing patriarchal image-culture inside-out.
The project has suffered ups and down, ‘a contested history’, and the loss of the original venue. That currently stands closed in the Park.
It took me a little time to get into the film but then it became increasingly interesting. The film uses 1200 black and white photographs from the archive filmed on a rostrum camera. Alongside these are a series of interview with artists who were part of or have some connection with the original Pavilion. And there are montages of material from the archive including local and more general material. And there is contemporary footage of people and places.
The photographs cover a range of subjects and settings: women’s’ activities, urban settings, the seaside, Yorkshire Gritstone . . . The parallel archive material is equally varied: minutes and such like from the early days of the Pavilion; posters and publicity; feminist leaflets and publications:
Most of the material is from the 1980s – and the local items bring back memories from that period: a shot through the window of the Victoria pub; the Hyde Park and University surrounds; a Punjabi teacher in Chapeltown; issues of Leeds Other Paper; The Video Vera project; the Leeds Animation Workshop . . .
The sense of what constituted The Pavilion and its significance relies extensively on the interviews. Each participant has selected a photograph [in one case two] from the archive. They describe this for the audience, though we only see the pictures tangentially. One participant commented on the difficulties she found in doing this.
These reminiscences include the developing work of the project: at one point an interviewee comments;
We really believed that working class women would come along and they didn’t.
Later the types of funding available favoured:
Working with the communities nearby – including Asian women and the children.
A central struggle against the objectification of women in photographic art produced examples of work in which young women were ‘demure, saucy and sexualised.’
The limitations of the industry reminded one interviewee that a woman always had
to work harder than anybody else.
The politics of feminism in the period are discussed. A young photographer commented when women criticised the work of another
I was scared of taking photographs of women because of that sort of comment.
And the politics of the colonized or imperialised countries raised questions about the autonomy of the subject, as a young woman,
someone who had little say in the photograph or how it was used.
An artist who presented a travelling exhibition of work shot on the Falls Road in Belfast recalled being arrested on the way to Rochdale and the exhibition being disrupted by a bomb threat.
The interviewees discussed theory, practice and important texts in the feminist movement. Laura Mulvey’s ideas get a mention as do the ideas and arguments by Selma James. I was intrigued by a reference to the ’Soviet Union’s first sexual manual.’ The journals and venues of the time appear, Radical Feminist, Who Needs Nurseries, The Other Cinema, . . . and the alternatives, The Kodak Girl ads, Marilyn standing over an air event, . . .
Towards the end there is a clip from the BBC Calendar in 1985 which offered a short profile the project. The presented welcomed ‘the ladies’: unperturbed they offered a concise description of the aims and work of The Pavilion.
The combination of different strands or changing or even competing images and sounds builds up into a strong sense of the ethos and achievements of the project. Given the ‘contested history’ there is amply space for audiences to assess and develop their own interpretations of this.
The photographs were filmed on a 16mm rostrum camera and much of the archive material is also from rostrum work. The editing of this with film and interviews builds up a complex tapestry of memories and meanings. There is a memorable shot of the camera person shot in a mirror.
Whilst the images are in a form of montage much of the sound is asynchronous. At times there is also accompanying music and rhythms. For this première the sound track was relayed directly into the auditorium with staff moving the speakers at different points. For audiences sound often lack the specific spatial sense one can gain from images: I found this particular technique imaginative and very effective.
The work of the research and production teams was headed by Mark Fell, an indisciplinary artist, and Luke Fowler, who frequently works in 16mm. This makes it a feminist project directed by two men, interesting but also contestable. Two of the participants did just this. At a few points we also heard the questions put to the interviewees and there were occasions when they also contested the nature of the questions themselves. These add to the rich complexity of the film. It also engages with the changes in the feminist movements that have occurred since the original founding of The Pavilion.
I was impressed both with the film and the presentation – I shall certainly revisit it. Happily there was a substantial audience to enjoy the evening. There are at least six more screenings at the Hyde Park Picture House in November and December. The actual film runs for about 70 minutes and is well worth the time spent.
I think this was a film about feminism and not a feminist film. The stylistic devices left me feeling flat and bored. Given that this collection of archival material represents aspects of my lived history and experience as a practising artist in the late 1980s I felt totally disengaged with it.
I think Sam is probably right about ‘about’ rather than ‘of’.
We obviously have a very different experience of the film – anyway I intend to see it again.