I agree with others that many experimental works by women use a woman’s voice 
or voices.

It might be useful to recall that what was often novel in women’s films in the 
60s-70s era was dealing with a narrator or in documentary experts or witnesses 
who were women.  We might connect this with changing conditions and 
technologies of production that made synch sound recording cheaper and more 
accessible for artisan filmmaking. as well as women artists having a special 
interest in women saying things as well as looking at things.  The modes of 
silent, sound, and synch sound in experimental film also play a part.  For 
example, we see a lot of Jane Brakhage in her husband’s work, but do we ever 
hear her?

 I remember after a screening of a 90 minute early feminist film of the late 
sixties, one of my feminist friends remarking about the guys attending, “I’ll 
be that’s the first time most of them listened to women talking for so long and 
not leaving or interrupting them.”

Chuck Kleinhans
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