The Work We Share: Part 3

Featuring Alliances by Alex Martinis Roe (2018), A Place of Rage, Pratibha Parmar (1991), Back Inside Herself, S Pearl Sharp (1984) and Now Pretend, L Franklin Gilliam (1991)

When: Saturday 30th September 2:30pm

Where: Composite, Collingwood Yards

Alliances, Alex Martinis Roe (2018) 24mins

In her film Alliances Alex Martinis Roe holds a discussion with, and interviews, a number of feminists in Paris. Together they explore the legacy of the Women’s Liberation Movement and the uprisings of May 1968 in Paris. The film points to the necessity of forming alliances between different feminist positions and movements. It was shot in the Centre Pompidou, Université Paris VIII and the surrounding suburb of Saint Denis and is an analysis of the relation between the centre and periphery and the impact that this has on feminist politics in the city.

The third screening of The Work We Share program presents three works exploring questions around black women’s identity and subjectivity.

A Place of Rage, Pratibha Parmar (1991) 55 mins

A Place of Rage (1991) offers a contextual view of the civil rights and black feminist movement in the USA. Based on the personal narratives and views of Angela Davis, June Jordan, Trinh T. Minh-ha, and Alice Walker, it questions what exactly it means to be a minority and highlights the importance of taking the personal as political. The film presents education as a key contribution towards transformation, and it celebrates the public influence and ability to promote change represented by its protagonists.

Back Inside Herself, S Pearl Sharp (1984) 4 mins

Back Inside Herself (1984) is an experimental short by S. Pearl Sharp, constructed as a poetic claim for the right to self-definition through everyday gestures, and questioning social expectations imposed on the protagonist, in a playful yet poignant way.

Now Pretend, L Franklin Gilliam (1991) 9 mins

Now Pretend (1991) plays with the potentialities of black and white film, with the limits between light and shadow, and by probing the constraints and possibilities allowed by fiction and verbal language, Gilliam’s work thinks about what it means to have or inhabit a black body.