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The ICA Announces Onwards and Outwards, a Unique Programme of Films Made by British Women Filmmakers

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The ICA Announces Onwards and Outwards, a Unique Programme of Films Made by British Women Filmmakers ICA For immediate release: 29 July 2015 The ICA announces Onwards and Outwards, a unique programme of films made by British women filmmakers Still from Red Road, directed by Andrea Arnold. The ICA is delighted to announce Onwards and Outwards, a unique programme of films made by British women filmmakers over the last 50 years. This particular focus aims to highlight women filmmakers who have excelled in making works of independence and originality. Onwards and Outwards is a nationwide programme of screenings, talks, and events, which aims to establish a dialogue around the conditions of production that women face when attempting to use the moving image as a means of expression. The programme at the ICA runs 1 – 10 September 2015 and until end December at nationwide venues. Calling the Shots: Women and contemporary film culture in the UK, 2000-2015 is an ongoing Arts & Humanities Research Council funded project, led by Dr. Shelley Cobb and Prof. Linda Williams, which investigates women as creative practitioners in contemporary UK cinema. The report identifies that “no research has studied comprehensively the numbers, status and films of women practitioners in the contemporary UK industry.” The British film industry’s understanding of women filmmakers is largely based upon American research that does not reflect the situation within the UK. Onwards and Outwards will draw attention to the lack of knowledge surrounding the conditions for women working in the UK’s film industry, and share research and first-hand accounts from industry figures that demonstrate women to be “a drastically under-utilised resource for the UK film industry.” Led by the ICA, in partnership with eleven other UK venues in cultural centres throughout the country, the programme will serve as a public platform for productive debates amongst a diverse range of audiences. Screenings will be accompanied by introductions and Q&As from relevant industry professionals and cultural practitioners such as Joanna Hogg, Laura Mulvey, Carol Morley and Campbell X. The events will build upon themes central to the programme, and will be further developed by commissioned texts and online content. Each screening will allow exploration into the independence and originality of those filmmakers who have sought to maintain their creative integrity within a homogenised industry. “The importance of women directors in the UK today is paramount and continues to demand our attention. When I co-programmed the Edinburgh Film Festival’s Women’s Film event in 1972, we realized that films directed by women were few and far between across the history of cinema. Considerable progress has been made since then, but more support and resources are needed to change the industry’s attitudes towards gender. I hope this season will raise awareness of the strength and variety of work by women directors but also underline the need to overcome gender stereotypes if we want to truly celebrate a rich and vibrant UK film industry.” - Laura Mulvey Culminating with a round-up discussion, Onwards and Outwards aims to raise the profile of these key issues and move debate into the public domain where it is able to generate thought; to gather information and ideas that may extend beyond the duration of the programme. The season takes place across a wide reaching UK partnership of 12 organisations comprised of: the ICA and JW3, London; Reading Film Theatre and Minghella Cinema, Reading; Gulbenkian, Kent; Phoenix, Leicester; HOME, Manchester;Watershed, Bristol; Chapter, Cardiff; Tyneside Cinema, Newcastle; Queen’s Film Theatre, Belfast and Glasgow Film Theatre. Onwards & Outwards is made possible with support from the BFI, awarding funds from the National Lottery The ICA is a registered charity no. 236848 Press contact: Naomi Crowther / Press Manager ICA / [email protected] / 020 7766 1407 Listings information: Onwards and Outwards 1 – 10 September 2015 at the ICA (See individual venue websites for further programme dates and times) Cinema prices £11 / £8 Concessions / £7 ICA Members. Season Multi-Buy Offer: Attend 2-4 events for £8 per screening Attend 5 or more events for £7 per screening Booking fees for non ICA Members: £1 per ticket or maximum charge per transaction £2.80. Book online at ica.org.uk Call Box Office 020 7930 3647 Textphone 020 7839 0737 ica.org.uk | twitter.com/icalondon | facebook.com/icalondon ICA programme: 1 Sept The Alcohol Years + discussion 2 Sept Panel & Under The Skin 3 Sept (tbc) Oranges Are Not The Only Fruit 4 Sept I Am Dora event (on conditions of production for UK BAME women filmmakers). 5 Sept Happy Bees & Margaret Tait’s films for children 5 Sept Wasp & Red Road 6 Sept Meshes of the Afternoon & Morvern Callar 8 Sept Random Acts of Intimacy & The Arbor 8 Sept Where I Am Is Here + Orlando 9 Sept Visibility & Legacy: Club des Femmes in conversation with filmmaker / curator Campbell X 10 Sept Place of Work & Exhibition followed by Joanna Hogg in conversation with Lynne Ramsay Editor’s notes: About the filmmakers Andrea Arnold Born in Kent, and leaving school at 16 with dreams of becoming an actress, Arnold finally found work as the host of a children’s television show. Her career continued in this vein for almost ten years, though she admits to having “never felt that comfortable in front of the camera.” During this time Arnold developed her talents as a writer independently, and sought to use the moving image as a means of bringing these stories to life. After studying abroad at the American Film Institute in Los Angeles she returned to London to make short films for television. She has since produced four feature length films, each receiving worldwide critical acclaim. Arnold’s filmmaking confirms her admission that she is “obsessed with why people turn out the way they are,” and her narratives are often driven by this deeply personal interest. Within each film a striking depth of character reveals the impulses that underpin human experience. Clio Barnard Having grown up in Yorkshire, Barnard went on to study Fine Art and later began working with video during a postgraduate diploma in digital imaging. It is here that her filmmaking came to prominence, when one of her post- graduate videos, Dirt and Science, was selected by Tilda Swinton to screen internationally as part of the ICA Biennial of Independent Film & Video. Since then, her feature films have gathered awards throughout the world, while she continues to teach filmmaking at the University of Kent. Barnard’s teaching shares the thoughts on cinema that inform her own work, often focusing upon the relationship between fiction and documentary cinema. Her work similarly moves between experimental and more traditional cinematic forms, allowing her films to screen in a variety of contexts, from galleries to cinemas. Barnard’s ability to bring these often oppositional dimensions together demonstrates a degree of understanding and control over her medium that has kept her at the forefront of British cinema. Maya Deren A major influence upon filmmakers throughout the world, Deren’s unique body of work has led many to pick up cameras, including Britain’s Lynne Ramsay who decided to become a filmmaker after watching Meshes in the Afternoon. While also working across a range of artistic mediums, drawing new connection between their respective theories, Deren worked with the American avant-garde of the 1940s and 1950s with the aim of producing new forms of experience while pioneer of alternative means of funding and distribution. This work led her to explore the extent to which cinematic time and space may be developed beyond mere points in a steadily progressing narrative, discovering a poetic form of filmmaking that continues to inspire those working with the moving image today. Joanna Hogg While working as a photographer, Hogg began experimenting with filmmaking using a film camera borrowed from Derek Jarman after a chance encounter with the artist in a coffee shop. Curiosity led Hogg to explore the artistic capabilities of the medium, producing several short films that won her a place on a directing course at the National Film and Television School. Following several music videos, her artistic background gave way to a career directing soaps television, including episodes of EastEnders and Casualty. In this environment she learnt to work fast, and develop her skills. However, she soon found herself wanting to make films that challenged the rules she had mastered. Since then, Hogg has produced three feature films which have each pushed the boundaries of British cinema, pulling together a wide range of influences and formal approaches to realise her own creative vision. Beeban Kidron Born in London, Beeban’s early interest in photography began while using a camera during her recovery from a throat operation that left her unable to talk. This choice of expression led to work as a photographer at the age of 16, and place at the National Film and Television School course for cinematography. Graduating as a director, Beeban’s rise to prominence came with her adaptation of Jeanette Winterson's autobiographical novel Oranges Are Not the Only Fruit, winning three BAFTA awards in 1989. Her career has since both spanned mainstream and arthouse genres for both cinema and television, her artistic vision winning awards across the world despite familiarity with the creative tensions of industrial practice. Beeban maintains active support for film education, founding the educational charity FILMCLUB and position on the UK Film Council. Such contributions to drama and education have led to her appointment as Officer of the Order of the British Empire (OBE) and seat within the House of Lords. Carol Morley Originating from Stockport, Morley’s creativity initially drew her to music, leading her to leave school at the age of sixteen to sing for a series of bands.
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