Locating the voice in improvised and expanded cinemas

Claire Holdsworth

Locating the voice in improvised and expanded cinemas

Claire Holdsworth

Research output: Contribution to conference › Paper › peer-review

Abstract

Part of a pre-constituted panel on 'Alternative spaces/disengaged terrains - expanded cinemas in London during the 1960s and 1970s‘, which brought together early career researchers specialising in artists‘ moving image, this 15-minute paper considered the recorded voice along with the process (and politics) of capturing it. Using the Feminist Improvising Group (FIG) as a key touchstone, discussion charted the crossover between this live improvised music group and feminist film/video making in the late 1970s and early 1980s - charting artistic intersections otherwise unseen (or unheard). With a focus on improvised music and theories of the voice, analysis drew upon clips from Laura Mulvey and Peter Wollen‘s 1980 film AMY!, which uses the music of FIG in its soundtrack. Discussion considered how audio-visual artefacts trigger forms of 'disengagement‘ when re-watched positing the uttered and dis-embodied voice as a means of fostering exchanges across time-frames and re-excavating historical narratives. Referring to theories of the voice (including texts by Dolar, Chion and Connor) the paper considered how its 'grain‘ exposes alternative readings when re-heard and revisited.

Original language	English
Publication status	Published - 28 Jun 2018
Event	Media Tactics and Engagement - Amsterdam, Netherlands Duration: 27 Jun 2018 → 28 Jun 2018

Conference

Conference	Media Tactics and Engagement
Period	27/06/18 → 28/06/18

Bibliographical note

Impact: NECS - or the European Network for Cinema and Media Studies is a non-profit organisation bringing together scholars, archivists, programmers and practitioners to foster innovative research in film and media theory, history and practice. The conference‘s online forums and work-groups are a key space for idea exchange and collaboration and its annual European conference provides a forum for communication, exchange and scholarly debate, in support of young and early-career researchers, establishing film and media studies as a dynamic and important part of the arts and humanities research in Europe. NECS has currently over 2700 members from all over the world, with this conference attended by several hundred members each year.

This panel was attended by around 50 delegates of the conference, and was very popular ad well received, with Twitter mentions and a number of productive connections made, particularly with colleagues based in arts institutions in Amsterdam, as two members of the panel are based there (Julian Ross and Leo Goldsmith). The conference is also widely attended by scholars based in America and Canada, as well as Australian, New Zealand and East Asia, making in important transnational forum for exchange and platform for the newly launched KSA.

Organising Body: European Network for Cinema and Media Studies, NECS

Keywords

Art and design

Cite this

@conference{16acdfc7221e493c86b0c417912454e4,

title = "Locating the voice in improvised and expanded cinemas",

abstract = "Part of a pre-constituted panel on 'Alternative spaces/disengaged terrains - expanded cinemas in London during the 1960s and 1970s{\textquoteleft}, which brought together early career researchers specialising in artists{\textquoteleft} moving image, this 15-minute paper considered the recorded voice along with the process (and politics) of capturing it. Using the Feminist Improvising Group (FIG) as a key touchstone, discussion charted the crossover between this live improvised music group and feminist film/video making in the late 1970s and early 1980s - charting artistic intersections otherwise unseen (or unheard). With a focus on improvised music and theories of the voice, analysis drew upon clips from Laura Mulvey and Peter Wollen{\textquoteleft}s 1980 film AMY!, which uses the music of FIG in its soundtrack. Discussion considered how audio-visual artefacts trigger forms of 'disengagement{\textquoteleft} when re-watched positing the uttered and dis-embodied voice as a means of fostering exchanges across time-frames and re-excavating historical narratives. Referring to theories of the voice (including texts by Dolar, Chion and Connor) the paper considered how its 'grain{\textquoteleft} exposes alternative readings when re-heard and revisited.",

keywords = "Art and design",

author = "Claire Holdsworth",

note = "Impact: NECS - or the European Network for Cinema and Media Studies is a non-profit organisation bringing together scholars, archivists, programmers and practitioners to foster innovative research in film and media theory, history and practice. The conference{\textquoteleft}s online forums and work-groups are a key space for idea exchange and collaboration and its annual European conference provides a forum for communication, exchange and scholarly debate, in support of young and early-career researchers, establishing film and media studies as a dynamic and important part of the arts and humanities research in Europe. NECS has currently over 2700 members from all over the world, with this conference attended by several hundred members each year. This panel was attended by around 50 delegates of the conference, and was very popular ad well received, with Twitter mentions and a number of productive connections made, particularly with colleagues based in arts institutions in Amsterdam, as two members of the panel are based there (Julian Ross and Leo Goldsmith). The conference is also widely attended by scholars based in America and Canada, as well as Australian, New Zealand and East Asia, making in important transnational forum for exchange and platform for the newly launched KSA. Organising Body: European Network for Cinema and Media Studies, NECS; Media Tactics and Engagement ; Conference date: 27-06-2018 Through 28-06-2018",

year = "2018",

month = jun,

day = "28",

language = "English",

}

TY - CONF

T1 - Locating the voice in improvised and expanded cinemas

AU - Holdsworth, Claire

N1 - Impact: NECS - or the European Network for Cinema and Media Studies is a non-profit organisation bringing together scholars, archivists, programmers and practitioners to foster innovative research in film and media theory, history and practice. The conference‘s online forums and work-groups are a key space for idea exchange and collaboration and its annual European conference provides a forum for communication, exchange and scholarly debate, in support of young and early-career researchers, establishing film and media studies as a dynamic and important part of the arts and humanities research in Europe. NECS has currently over 2700 members from all over the world, with this conference attended by several hundred members each year. This panel was attended by around 50 delegates of the conference, and was very popular ad well received, with Twitter mentions and a number of productive connections made, particularly with colleagues based in arts institutions in Amsterdam, as two members of the panel are based there (Julian Ross and Leo Goldsmith). The conference is also widely attended by scholars based in America and Canada, as well as Australian, New Zealand and East Asia, making in important transnational forum for exchange and platform for the newly launched KSA. Organising Body: European Network for Cinema and Media Studies, NECS

PY - 2018/6/28

Y1 - 2018/6/28

N2 - Part of a pre-constituted panel on 'Alternative spaces/disengaged terrains - expanded cinemas in London during the 1960s and 1970s‘, which brought together early career researchers specialising in artists‘ moving image, this 15-minute paper considered the recorded voice along with the process (and politics) of capturing it. Using the Feminist Improvising Group (FIG) as a key touchstone, discussion charted the crossover between this live improvised music group and feminist film/video making in the late 1970s and early 1980s - charting artistic intersections otherwise unseen (or unheard). With a focus on improvised music and theories of the voice, analysis drew upon clips from Laura Mulvey and Peter Wollen‘s 1980 film AMY!, which uses the music of FIG in its soundtrack. Discussion considered how audio-visual artefacts trigger forms of 'disengagement‘ when re-watched positing the uttered and dis-embodied voice as a means of fostering exchanges across time-frames and re-excavating historical narratives. Referring to theories of the voice (including texts by Dolar, Chion and Connor) the paper considered how its 'grain‘ exposes alternative readings when re-heard and revisited.

AB - Part of a pre-constituted panel on 'Alternative spaces/disengaged terrains - expanded cinemas in London during the 1960s and 1970s‘, which brought together early career researchers specialising in artists‘ moving image, this 15-minute paper considered the recorded voice along with the process (and politics) of capturing it. Using the Feminist Improvising Group (FIG) as a key touchstone, discussion charted the crossover between this live improvised music group and feminist film/video making in the late 1970s and early 1980s - charting artistic intersections otherwise unseen (or unheard). With a focus on improvised music and theories of the voice, analysis drew upon clips from Laura Mulvey and Peter Wollen‘s 1980 film AMY!, which uses the music of FIG in its soundtrack. Discussion considered how audio-visual artefacts trigger forms of 'disengagement‘ when re-watched positing the uttered and dis-embodied voice as a means of fostering exchanges across time-frames and re-excavating historical narratives. Referring to theories of the voice (including texts by Dolar, Chion and Connor) the paper considered how its 'grain‘ exposes alternative readings when re-heard and revisited.

KW - Art and design

M3 - Paper

T2 - Media Tactics and Engagement

Y2 - 27 June 2018 through 28 June 2018

ER -

Locating the voice in improvised and expanded cinemas

Abstract

Conference

Bibliographical note

Keywords

Fingerprint

Cite this