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Women of Vision VISIBLE EVIDENCE Edited by Michael Renov, Faye Ginsburg, and Jane Gaines Public Confidence in the "Real" Is Everywhere in Decline

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Women of Vision VISIBLE EVIDENCE Edited by Michael Renov, Faye Ginsburg, and Jane Gaines Public Confidence in the Women of Vision VISIBLE EVIDENCE Edited by Michael Renov, Faye Ginsburg, and Jane Gaines Public confidence in the "real" is everywhere in decline. The Visible Evidence series offers a forum for the in-depth consideration of the representation of the real, with books that engage issues bearing upon questions of cultural and historical representation, and that forward the work of challenging prevailing notions of the "documentary tradition" and of nonfiction culture more generally. Volume 9 Alexandra Juhasz, editor Women of Vision: Histories in Feminist Film and Video Volume 8 Douglas Kellner and Dan Streible, editors Emile de Antonio: A Reader Volume 7 Patricia R. Zimmermann States of Emergency: Documentaries, Wars, Democracies Volume 6 Jane M. Gaines and Michael Renov, editors Collecting Visible Evidence Volume 5 Diane Waldman and Janet Walker, editors Feminism and Documentary Volume 4 Michelle Citron Home Movies and Other Necessary Fictions Volume 3 Andrea Liss Trespassing through Shadows: Memory, Photography, and the Holocaust Volume 2 Toby Miller Technologies of Truth: Cultural Citizenship and the Popular Media Volume 1 Chris Holmlund and Cynthia Fuchs, editors Between the Sheets, In the Streets: Queer, Lesbian, Gay Documentary VISIBLE EVIDENCE, VOLUME 9 Women of Vision Histories in Feminist Film and Video Alexandra Juhasz, Editor University of Minnesota Press Minneapolis London For information about the video Women of Vision, contact: The Cinema Guild, Inc. 1687 Broadway, Suite 506 New York, NY 10019-5904 (212) 246-5522 http://www.cinemaguild.com Copyright 2001 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a re- trieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 http://www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Women of vision : histories in feminist film and video / Alexandra Juhasz, editor. p. cm. — (Visible evidence ; v. 9) ISBN 0-8166-3371-1 (alk. paper) — ISBN 0-8166-3372-X (pbk.: alk. paper) 1. Women motion picture producers and directors—United States—Interviews. 2. Feminist motion pictures. I. Juhasz, Alexandra. II. Series. PN1998.2 .W666 2001 791.43'082—dc21 00-011270 Printed in the United States of America on acid-free paper The University of Minnesota is an equal-opportunity educator and employer. 12 11 10 09 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 For my children, the next generation, Simone Irene Dunye and Gabriel James Robert Juhasz. May their feminist histories flourish. This page intentionally left blank Contents Preface ix Acknowledgments xi Introduction i 1 • Pearl Bowser 47 2 • Carolee Schneemann 61 3 • Barbara Hammer 77 4 • Kate Horsfield 9 5 5 • Margaret Caples 109 6 • Julia Reichert 121 7 • Michelle Citron 137 8 • Vanalyne Green 153 9 • Constance Penley 167 10 • Susan Mogul 183 11 • Carol Leigh 197 12 • Juanita Mohammed 211 13 • Wendy Quinn 225 14 • Victoria Vesna 235 15 • Valerie Soe 249 16 • Yvonne Welbon 263 17 • Frances Negron-Muntaner 277 18 • Cheryl Dunye 291 19 • Eve Oishi 307 20 • Megan Cunningham 319 Afterword 327 Notes 331 Contributors 341 Preface When one of my interviewees failed to show up to be videotaped, I didn't want to waste this precious hour of crew and studio time. My associate producer, Megan Cunningham, agreed to interview me. On camera, she asked me to reflect on the process of making my documentary Women of Vision: Eighteen Histories in Feminist Film and Video. / had always planned to include my own voice in the documentary, given my feminist commitment to a self-reflexive methodology. So I spoke about what I had learned. I include this excerpt from my video interview (and another as the book's afterword) as a preface to the written aspect of this project to mirror the reflexive feminist process of the originary video documentary, to include some of my "live" recorded voice in the book so that I speak through the same technology as do the book's other interviewees, and to set out the book's central theme—the reclaiming of power through interactive remem- bering of feminist media history. MEGAN CUNNINGHAM: What have you learned while making this documentary* ALEX JUHASZ: I learned some things that surprised me even though I teach women's studies and spend a lot of time with younger feminists and women who don't call themselves feminists. Two things rarely happen: First, we as women rarely get legitimate documents—documents on television, documents on video—that recount the lives of strong women who preceded us. What is so beautiful about the interviews that we have shot is to see articulate, self-controlled, self-confident (and sometimes not so confident), bright, committed women living their lives. They don't pre- sent themselves in all the demeaning, and painful, and violent ways in ix which women are typically portrayed. They are simply living full, rich lives of the head and the spirit. I found it surprising to realize this imagery's power. And then second, I was surprised to see how we lack cross- generational conversation and how desperate we are for older women to hear the words of younger women and for younger women to hear those of older women. We as a movement—even though we are not a movement maybe—but we as women have neglected that, as does most of our culture. I'm in my thirties, and most of the women working on this project are even younger, and we all found it empowering to talk to women who are forty, fifty, sixty, who tell us a similar message: "I have lived a life, choosing it by my own rules, valuing what I know and believe, even though by doing so, I push up against the rules of the society. I want to show you my life so you know that it is possible to do the same." When we do not know or cannot imagine that we have such opportu- nities, a new generation of young women inevitably comes along, and it is like they are inventing it again—that they could be an artist, or a scholar, or an active participant in the cultural and political life of our society. X PREFACE Acknowledgm en ts One of the central themes of this book is the absolute necessity of infra- structural and material support for the possibility of feminist media work. Another is its reflexive methodology. I make the same thing that I study: feminist media and feminist media history. Self-consciousness about my own process becomes part of the study. For these reasons, I must honor the generous support of many individuals and institutions without which this feminist media project, as both documentary video and book, could never have been completed. First, I would like to gratefully acknowledge the book's subjects, the twenty women who allowed me to interview them for the documentary and whose interviews appear transcribed here. This has been a long, inter- active process based on their continual involvement. My work would not be possible without their contributions of time, memories, ideas, and images. I also need to thank the nearly two hundred media feminists who at- tended the preproduction research meetings in Philadelphia, New York, Chicago, San Francisco, and Los Angeles. The issues and conflicts raised in these meetings formed my project. These meetings were in turn supported by individuals (and their institutions) who provided contact information, meeting spaces, food. Thanks to David Haas and Linda Blackabee at the Philadelphia Independent Film and Video Association, Terry Lawler at Women Make Movies, Jeanne Kracher at Women in the Director's Chair, Kate Horsfield at the Video Data Bank, Patricia Boero at the John D. and Catherine T. MacArthur Foundation, Gail Silva at the Film Arts Founda- tion, and Elayne Zalis at the Long Beach Museum of Art Video Annex. Monetary support for these meetings was provided by research grants from Swarthmore College and a Mellon postdoctoral fellowship at Bryn Mawr College. xi This book is the companion to a documentary that was made with little funding over the course of four years. I did receive two outright grants that helped pay for research and editing of the documentary, these generously provided by the California Council for the Humanities and the Astraea National Lesbian Action Foundation. Ongoing research support from Pitzer College has financed a great deal of the project's production; especially valuable was its support for the transcription of the video inter- views. Thanks to Robin Podolsky for her attentive and thoughtful assis- tance as she transcribed many hours of videotape. My documentary was also supported through trades and other in-kind support from several of the organizations and institutions that themselves play a central role in this history: Film/Video Arts, the Performance Art Department at New York University, the Video Department at the School of the Art Institute of Chicago, and the Video Annex of the Long Beach Museum of Art. None of this work could have been accomplished without the loving (and usually unpaid) assistance of student interns. Swarthmore College stu- dents Katie Bowman, Heather Abel, and Valerie Casey helped organize the Chicago and San Francisco research meetings, and Kenrick Cato helped to log the videotapes of those meetings. Bryn Mawr students True Ha, Suh Kyung Yoon, and Lisa Lopez-Lopez organized meetings, recorded sound, and logged tapes. Pitzer College students Kathy Kiernan, Bonnie Gavel, and Matthew Cooke helped organize and shoot the Los Angeles inter- views, while Zara Ayazi did archival research for the documentary.
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