[EFF17P2] Prelude 2: Bette Gordon Programme

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http://eprints.org/relation/isVersionOf https://researchdata.bbk.ac.uk/id/document/1749 http://eprints.org/relation/isVolatileVersionOf https://researchdata.bbk.ac.uk/id/document/1749 http://eprints.org/relation/issmallThumbnailVersionOf https://researchdata.bbk.ac.uk/id/document/1749 archive 152 disk0/00/00/02/68 2026-08-11 14:25:19 2026-08-11 14:25:19 2026-08-11 14:25:19 data_collection show Temple Michael Birkbeck Barrington Matthew Birkbeck http://www.loc.gov/loc.terms/relators/CLB McCabe Janet 0000-0002-2916-9876 http://www.loc.gov/loc.terms/relators/CLB Yapp Emma [EFF17P2] Prelude 2: Bette Gordon Programme CACC mcs public 18 February 2017, 13:00, Birkbeck Cinema In the late 1970s and early 1980s, New York-based filmmaker Bette Gordon produced a series of works that chart a major shift in experimental practice from the rigor of structural film to a theoretically informed interest in fragmented narrative and subjective experience that Noel Carroll would dub the “new talkies”. With her best-known work, 1983’s Variety, Gordon moves fully into the idiom of independent narrative cinema, but her concerns remain consistent: questions of sexuality, labour, and gentrification are pursued within a critical interrogation of filmic language. Hers is a cinema at once politically urgent, formally sophisticated, and emotionally compelling. Films: An Algorithm, USA, 1977, 16mm, 10 minutes, English The action of a woman jumping into a swimming pool is used as the basis of a structural exploration of rhythm, the loop, the analytics of motion, and the possibilities of optical printing. Exchanges, USA, 1979, 16mm, 18 minutes, English Here, Gordon’s practice stands at a turning point between the rigorous interrogation of filmic form that characterises her early work and the experimental narratives of female experience and desire found in Empty Suitcases and beyond. In this deeply semiotic enterprise, voice, image, and text are separated, combined, and recombined in a reflection on the production of meaning. Empty Suitcases, USA, 1980, 16mm, 55 minutes, English Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema. The film presents fragments of a woman’s life – her work (as a photographer), her friendship and relationships – in short, her economic, sexual, and artistic struggles. By deconstructing the fragments of text, speech, music, and picture, the film forces focus on the workings of narrative, as well as on the narrative itself. Central to Empty Suitcases is women’s inability to place and define themselves in language and politics, the location of radical struggle. This displacement leads to a definition of woman as other, and reveals problems of unresolved sexual relations, difference, and violence.” This event was accompanied by a 35mm screening of Bette Gordon’s feature film Variety (1983), as part of a day two programme on Bette Gordon curated by Erika Balsom, King’s College London. 2023-07-07 Birkbeck College, University of London Essay Film Festival yes 2036-08-11 bimi metadata_and_data_files yes staff The Essay Film Festival ran between 2015 and 2023, and presented a global range of contemporary and restored essayistic works. The events are now archived here for research purposes. All film stills were provided by participating artists.