By Zerrin Cengiz, 2018
Saha/Field depicts the walk/journey that I took from my home to the bus stop during my fieldwork period in London on one particularly cold winter’s day in 2018. I wanted to show the physical process that one goes through while doing fieldwork in a big city. I did this walk hundreds of times and for me, it has been the most defining moment of any fieldwork day.0:02:57
By Tegiye Birey & Rahme Veziroğlu, 2018
Footage from the evacuation of a tent protest by Iraqi asylum-seekers in Malmö is juxtaposed against waves that eventually goes down the drain. Visuals are accompanied by narration of a meditation session and an excerpt from an interview of Sweden’s then Prime Minister who criticized other European states for their mistreatment of refugees.
The protest took place between April and November 2017 in front of the Migration Agency in Malmö. Anti-deportation protesters highlighted that the situation in Iraq is extremely dangerous and they are in dire need of protection. Whereas a handful of protesting asylum-seekers could stay in Sweden, many were forced to flee or deported back to Iraq to unlivable circumstances.
As I research the politics of gender within emerging solidarities, I frequently need to double-check if I am prioritizing gender in places where it is not the primary organizers of relations. This film could be about the friendly discussion I overheard on how women’s hair should be, or how the majority of the Iraqi protesters were men. But this film is about the right to move and to stay.0:04:41
By Andrew Quinn, Barbara Grabher and Tamar Draper, 2018
The title ‘UK City of Culture’ celebrates cities, its people and their aspirations for the urban future. In the midst of celebrating the title in Hull in 2017, I wanted to know whether these celebrations of the city will leave a lasting effect. At some point confetti is touching the ground; where will it land?
I invite further explorations by combining oral as well as bodily forms of expression. In the form of a community dance project, Hull-based dance artist Tamar Draper guided a group of residents in their expressions through movement and dance. Oral commentaries are contributed by research participants in the research project ‘Gendering Cities of Culture.’
Moving Moments is a filmic translation of the research project ‘Gendering Cities of Culture’ and questions the 2017 celebrations of the UK City of Culture in the city of Hull from the perspective of its residents.0:015:08
Not Seeing Well: Notes on Feminist Ways of Seeing
By Orianna Calderón
An audio-visual essay that explores feminist practices and discourses in contemporary Spanish documentary films. I try to adapt Karen Barad’s diffractive methodology as a video editing strategy for reading through fragments from the two films, Yes, We Fuck! (Antonio Centeno and Raúl de la Morena 2015), and Cuidado, resbala [Careful, Slippery] (María Camacho Gómez, Montserrat Clos Fabuel, Mercedes Cordero Suárez, Vanessa Gómez Martínez, Leonor Jiménez Moreno, and Carolina Suárez Rasmussen (2013); the opinions expressed by their filmmakers, theoretical tools, and my own gaze.
I envision this video as an audio-visual register of the event of my reading these films through concepts such as countervisuality, diffraction, patterns of differences and their effects, the right to look, the right to appear, vulnerability, precarity and in/equality. Both documentary films are case studies of my research.0:02:41
Blood and Data Flows
By Johanna Levy, 2018
The film is inspired by videos presenting research projects and their outcomes on social media. It consists of a sequence of short videos, images and text, and aims to raise the viewer’s awareness towards some of the implications of menstrual tracking via smartphone apps.
The film starts in space and moves closer to (my) human body. This concept aims to increase the feeling of intimacy, as I understand menstrual apps closely intertwined with their users’ bodies.
The film seeks to make my research project on menstrual app more accessible to a general (not exclusively academic) audience.
Interviews and Scenes from No Country for Black Women
By Paola Prieto López, 2017
Written and acted by Silvia Albert Sopale
Directed by Carolina Torres Topaga
Original text by Silvia Albert Sopale, Carolina Torres Topaga, Laura Freijoo
Lighting by Adriana Ferrer Manso
Editing and subtitles by Paola Prieto López
The film deals with the play No Es Pais Para Negras [No Country for Black Women] by Silvia Albert Sopale. It combines interviews with the actress and artistic director with selected scenes from a performance in Oviedo, Spain.
Silvia Albert Sopale’s groundbreaking play No Country for Black Women premiered in 2014 and since then it has toured all over Spain, becoming one of the first plays co-written and performed by a black Spanish woman playwright and actress in Spain.
No Es Pais Para Negras has been described as a self-referential play that attempts to create a space for the Afrodescendant community in the arts and to make visible and voice the experiences of racism and marginalization of Afro-Spaniards through theatre.
By Sara Verderi, 2018
Concept and montage by Sara Verderi
Visual animation by Juliette Lizotte
Thanks to Frances Negron Muntaner
The video is an experimental transposition of the author’s visions during the first project training school in Hull, May 2016. These visions intertwine the experience of mobility in Northern Europe and that of the research work on the subject of the Syrian uprising memory. The video features a famous slogan sung in the uprising sit-ins, a quote from Avery Gordon’s book Ghostly Matters and a footage of an animate ghost emerging from the architecture of the city streets and a famous commercial jingle. The context of the video is Europe.
The video is based on author’s experience of mobility for research purposes. It is also influenced by the research subject: memory of the Syrian uprising and war in the Syrian-European diaspora. The ghost is a recurrent figure in Syrian poets, visual and fine artists from the diaspora in Europe.0:04:04
Spaces of Equality
By Athena-Maria Enderstein and Zuzanna Szutenberg, 2018/2019
This film talks about the past and ongoing significance of spaces like the Italian Women’s Library, for equality building.
The focus is on Associazione Orlando/ the Italian Women’s Library in Bologna and resistances to gender equality oriented initiatives in Italy as an example of current dynamics affecting equality building in Europe.
This film stems from an ongoing conversation about the intersection and interplay of opposing and supporting discourses and materialities in equality building, relating to our individual research projects on print media and the practice of gender expertise.0:07:15
Fighting to Fight: Women in Boxing in the UK
By Alejandra Benítez Silva and Andrew Quinn, 2019
Through the experiences of a female boxer, the film communicates the obstacles women face to fully participate and be recognized in boxing, a male dominated sport. Female boxers are fighting everyday against discrimination in boxing. They fight for transforming a sport where equality has yet to be achieved.
Sport has a great potential for equality. Simultaneously, it is a field characterized for the inequalities produced and reproduced in it. In this context, the stories of those making sport a site for equality and a site for all must be highlighted and taken into account.0:011:50
*notes on accessibility
By Lieke Hettinga, 2019
In the process of creating this exhibition ‘Footnotes on Equality’ at Casco Art institute, the GRACE researchers and Casco team members reflected on the space of the building in its current form, which is not accessible to all bodies or all kinds of ways of moving one’s body. I took the opportunity of making this video as a way of making those reflections present in the exhibition and in the space, so as to foreground them. This is not with the aim of aestheticizing the act of trying to change the physical infrastructure of Casco. But to share and expose the ongoing process of instituting accessibility, and the lesser known history of the building of which some traces are visible in the city archives.
In my research, I am interested in how processes of ‘inclusion’ or proclamations of ‘equality’ are moments of biopolitical regulation where identity categories are sedimented in their relationship to bodies. In this case, I was interested in what it meant for us to work on an exhibition that functions as a footnote on discourses of ‘equality’, in a space that is working towards becoming more accessible. I wanted to address the gap between the (very recent) introduction of disability legislation in the Netherlands, and the difficulties of translating that to an actual space, and how the history of the school for disabled children in Casco’s building also shows different stories of inclusion, integration, and the production of disability.0:0 2:18
Deconstructing EU Equality Tweets
By Tommaso Trillo, 2019
The European Union frequently mentions that gender equality is one of its key goals and fundamental values. This is rather evident when the communication of several of its institutional outlets is analyzed, including communication on social media such as Twitter. However, a large corpus of literature as well as the finds of my own project point out that arguments in favor of gender equality voiced by EU institutions are mostly market-based rather than value-based.
Arguably, market-based narratives for equality inject equality discourses with economic reasoning while leaving the economic discourses that dominate the public scene mostly untouched. In the process, claims for equality are diluted to the point of losing almost all of their political salience. In this sense, it might be time for EU equality institutions to adopt different discursive strategies, e.g. value-based argument that make of gender equality a political goal grounded in an overarching narrative of social justice.
This film project is my attempt at conveying the findings of my research project within GRACE through a medium other than that of academic publications. It aims at exposing the issues outlined above and present them in a fun and accessible manner.0:0 16:45
The Return of Feminist Dystopian Fiction
Eleanor Drage and Cosima Barzini
This experimental documentary discusses the significance of current trends in feminist dystopian fiction. It is a mixed media piece that contains images of Eleanor walking around selected areas of London, a pre-recorded narrative voiceover, and clips from films, interviews, and news sources.
We contextualise this overview of the state of contemporary women’s dystopian fiction with some clips from interviews with novelists Margaret Atwood and Christine Dalcher, and with images of participants in recent protests that took inspiration from their novels. We try throughout to reconcile these recent events with the history of feminist dystopia as a whole. At the end of the film, Eleanor enters a melodramatic dystopian world, in the mood of clip from Frankenstein’s Bride.
While the picture of contemporary women’s science fiction that we offer is limited – the genre is far more complex than we can convey here – I hope the film still demonstrates what I identify as the important role of women’s dystopian fiction within the current mood of “global dystopia”.0:0 1:37
Eleanor Drage and Julien Noguera, 2019
This short animation explores how utopian science fiction can draw a queer and anti-racist future closer, articulating “a forward-dawning futurity” (José Muñoz). In doing so, it responds to a question at the heart of Eleanor’s thesis, namely: how can we break through the limitations of our present and imagine the unimaginable? In this short film, a girl reads a utopian novel in which aliens tend for their organic spaceship (inspired by Octavia Butler’s Xenogenesis trilogy) and ‘lesbian’ aliens procreate without technological or third-party intervention.
This animation does not attempt to occlude some of the problematic elements of utopia, also asking “utopia for whom?” when the viewer is confronted with one alien cultivating the land while (pregnant) aliens enjoy some respite. At the end of the clip, the spaceship enters into the readers’ reality. This symbolises the way in which fiction offers a way for readers to cross the « utopian horizon of possibility » by providing a lens through which to see the world differently, enabling the reader to translate science fictional vision creation into praxis.