Cyberfeminism centers particularly on the theorization, critique, and exploitation of cyberspace and its related mediums of (audiovisual) communication. It focuses on how women artists in particular interact with the internet and new media technologies. With an emphasis on their creative inclusion, the movement concentrates more on the innovative intervention and appropriation by women in the media sphere from both a theoretical perspective (how digital technologies and women’s bodies and psyche communicate) and practical one (hacking, programming, and engineering).

 

Since its conception in the early 90s, it has been involved with the arts and filmmaking and video art in particular. Cyberfeminist works were a constant thanks to little to no production costs involved in the creation process, thus transforming cinema as a medium. Its visionary radicalism takes cinema as a multimedia art in which film, animation, and video are involved and seamlessly engage. 

 

Tonight’s screening consists of a handpicked gathering of film and video works in the context of cyberfeminism and will humbly highlight the relevancy of the movement with regards to the contemporary moving image-making, and thus accentuate its uniqueness in the ever-changing world of cinema.

 

This edition will screen:

 

Bliss.jpg (USA, 2023, 9') by Emily Rose Apter and Elijah Stevens
No dialogue and subtitles

 

No No Nooky T.V. (USA, 1987, 12' ) by Barbara Hammer
English spoken

 

Surrender (USA, 2019, 12' ) by Caroline Kopko
English spoken

 

Altitude Zero (USA, 2004, 5' ) by Lauren Cook
English spoken

 

She Puppet (USA, 2001, 15' ) by Peggy Ahwesh
English spoken