The ‘memory=film’ project is evolving; this is a filmmakers diary, a film poem about time passing, drawn from my Super8 collection 1976-2003.
See my Documentary blog for recent writing in 2019:
Feminism & Film: Sydney Women Filmmakers, 1970s & 1980s at this year’s Sydney Film Festival. Three Retrospective programs which include two films I worked: screening Sat 10 June 12.30 Event Cinema 8 George St: ‘Film For Discussion’ (1974), with Sydney Women’s Film Group and Martha Ansara
‘For Love Or Money: A History of Women And Work in Australia’ (1983) with co-filmmakers (see pic).
Film For Discussion, For Love or Money and Margot Nash’s We Aim to Please screening: Sat 10 June 12.30 Event Cinema 8 George St: Tickets available
Still Life I recently wrote an essay on Still Life (74) for Peephole Journal – revisiting the film to investigate our “original intentions of challenging the male gaze. Criticised at the time for perpetuating the sexual objectification of the female body, Thornley counters this now, in 2017, by arguing for the film’s “collaborative gaze,” one that is shared by the women behind and in front of the camera”.
Melbourne Women in Film Festival (MWFF) screens Still Life, March 2017. In online mag ‘Mojo News’ Emily Burkhard reviews ‘Still Life’ (Jeni Thornley & Dasha Ross 1974) as “raw and evocative”, along with a discussion of the contemporary films screened: Clare Ferra’s ‘Progressive Evolution; (2011) and ‘Love Oscillation’ (2012), and Amie Batalibasi’s ‘Lit’ (2016). “The festival stood out for its series of informative and insightful panel discussions during the two-day inaugural showcase – on the role of women in screen culture, how this has evolved from the days of the 1975 International Women’s Film Festival.”
Public screening and discussion: Island Home Country (52 min). Monday 14th March 7.30pm, Mona Vale Memorial Hall; hosted by the Aboriginal Support Group – Manly Warringah Pittwater (ASG). ASG started in 1979 as a treaty organization and later developed into a group of people committed to supporting Indigenous Australians in their broader struggle for justice.
Public screening and discussion: Island Home Country (52 min. film & thesis, DCA UTS 2011), Screening Indigeneity Series, Menzies Centre for Australian Studies & the Department of Film Studies, King’s College London, September 15th 2015.
For Love or Money, (Dir. McMurchy, Nash, Oliver, Thornley), 2nd International Women’s Film Festival Bangladesh, Seminar Hall, Central Public Library, Dhaka, 16th March 2015.
Curator & Panelist, ‘Women’s Gaze and the Feminist Film Archive’, Future Feminist Archive, Art Gallery of NSW and Sydney College 2015.
Delegate, Critical Thought Versus The Capitalist Hydra, CIDECI, Universidad de la Tierra Chiapas, Mexico, May 2015
Maidens (dir. Thornley 1978), Retrospective Screening, Films from the Co-ops Part 1, Melbourne Cinémathèque, ACMI Cinemas, Federation Square, Melbourne, May 20 2015.
Referee reader for monograph, Robots and Art: Exploring an Unlikely Symbiosis (eds.), D. Herath, C. Kroos & Stelarc, Springer 2015.
Interviewee: In New Zealand, the Activist Complex Female Protagonist Whispers, (Marian Evans). Research Report on the New Zealand Film Commission’s Gender Policy, 2015
Interviewee, When the Camera Stopped Rolling (dir. Jane Castle). A documentary feature film about Lilias Fraser, pioneer of the Australian documentary film industry. Screen Australia and Documentary Australia Foundation (DAF), 2016
Interviewee, A Filmmakers’ Cinema: 20 Years of the Filmmakers’ Co-operatives (dir. John Hughes & Tom Zubrycki), a documentary film-archival project, 2016.
Interviewee (audio), Genealogy of thought-practice: sexual difference (Dir.Alex Martinis Roe), an arts based documentary film, 2016.
Member Filmnews Digitising Collective: a project to digitise the entire collection of Filmnews via the National Library of Australia’s Australian Newspapers Digitisation Program. Finance currently being raised from various sources, including Australian Directors Guild (ADG) 2016.
The original Film News Collective c1980