Fred, While I agree is a lot more complicated of a situation. I was writing out a whole long response talking about Gauguin, Picasso, and other toxic male artists among other things when I decided to revisit your website and noticed a few things:
1) your list of what you consider the greatest films of all time include no female filmmakers. 2) your list of what you consider the greatest filmmakers of all time is almost entirely male. 3) almost all of your writing on film you have linked on your site is about male filmmakers. Honestly I find this kind of weird too considering you’ve written so much on Brakhage and three of the most influential filmmakers on him we’re all women. Deren, Menken, Schneemann. All of whom are notably absent from your lists. While I somewhat understand your reasoning not to name names it seems that it also could be read that you’re trying to keep your version of cinematic history untainted. We live in a different world now. What was once acceptable and commonplace isn’t anymore. The voiceless are starting to gain a voice. 😎 > On Nov 25, 2017, at 3:15 PM, Chuck Kleinhans <[email protected]> > wrote: > > Sum Bodi and Evan Greene, > > In making the initial post on this discussion thread, I was thinking of the > general topic of sexual harassment, not calling out individual people. I > think the discussion has tended to go that way, broadening out at times to > discuss sexism in general in the experimental art world. > > I agree with Fred that it is not appropriate to name names here for several > reasons: much of the “knowledge” is hearsay, a free for all social media > listserv is not a forum with any protections for all the parties who might be > concerned (accuser, accused, bystanders, spouses/partners, children, the > framing institutions, etc.), and different people draw “the line” in > different places for inappropriate behavior. As much as possible, I think the > goal should be restorative justice. > > At least in educational institutions today we have (some) formal Title IX > policies and procedures in place (as flawed as that system may be, and as > determined that the Trump administration is to weaken them). For a > particularly lucid discussion of these controversies I’d recommend > filmmaker/critic Laura Kipnis’s new book, Unwanted Advances: Sexual Paranoia > Comes to Campus. > > Earlier Pip argued that because so much of experimental filmmaking is done in > an individual artisan way there aren’t the same workplace hierarchies as in > the commercial film world. True, but anytime there are power differentials, > abuse is possible: that may be in funding, access to equipment, necessary > services, distribution, exhibition, curating, and even archiving and > preservation. And criticism and recognition. Our field, after all ranges > from the first year student showing a short work at the end of the semester > class screening to yet another mammoth Mathew Barney extravaganza at a major > museum. > > Chuck Kleinhans > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
