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CAROLE ROUSSOPOULOS
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getting to the final result...(last days of editing)
aim to keep the video under 2min30sec
despite initially struggling with lack of footage, I ended up cutting on a lot for the film, as i wanted to keep a short length and I had to cut most clips.
most of sound is taken from the archives and used for the same or different footage seen on screen (there are different arrangements). The type-writer sound used in one of the clips makes reference to the original piece, in which one of the performers (Delphine) dictates a text to Carole, who is typing down what the other one reads. The original video is quite interesting and the text is full of interesting points mocking how men treat women, and as this was too long, i decided to keep a constant use of the type-writer as a way of representing all the things that are being listed.
the text that has been added in between the clips (resembling to a trailer format) is to guide the audience, in a way, through the video, and give a few facts about her in form of a very general background on who she was.
used soft transitions for a better blending of the material, such as ‘glitching effect’, which on top of that, also help to support the general look and atmosphere of Carole’s video work.
I have tried to include a variety of her works, from ones with a strong form of documentary, to others with a more performative style.
my own videos: despite the fact that not all of them feature in this final edit anymore, they are meant to support the material her (and her collective) material, by keeping a similar look and pace; based on the signs and posters seen in her documetaries (particularly looking at the ones done by women).
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sketch of screen where to show the video//side of the bookshelf//power-sockets close by for the plug.
-walking distance too far from EdwardStreet (5min max.) for real exhibit-
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what the final result should look like:
Now that I have decided where my work would be shown (hypothetically), I have to make changes on the style and form of the editing, since the library is a very different location from the previous I had considered.
-very limited audio (should be mute, but with options of maybe using headphones to watch it?)
-use of titles
- not a documentary anymore. it’s more like a advert or very short informative piece. -even a ‘trailer’
-keep the same ‘looks’ thourgh-out. (especially when adding a few shots of my own - which aim to support her work).
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Jubilee Library -Brighton
3rd Floor , Section: Sociology, Women’s Studies and Cultural Studies.
The shelf makes a rectangular space perfect to fit a tv screen. There are power sockets close by it.
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Jubilee Library - location-
Reasons why it would be good idea:
-more variety of people able to watch it (audience)
-the video would be projected next to shelves with feminist books (inclusing Simone de Beauvoir).
-The themes she talks about can be further researched in that specific section of the library. (feminism from different time periods, the different politics behind it and sociology)
-The people looking around that section might have similar interests already, which could potentially help to catch this audience’s attention rapidly.
-The video and the boks that surround it are completely linked and complement and empower each other.
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(more) possible locations?
After some time working on the project, I started to question more the relations of the editing, the content and the location...It has also become a problem to have the Parisian location so far, making it difficult to properly consider what mediums to use in order to show the video (considering the space) and have access to check available places within the university.
More location ideas that I think could suit best for the purpose of the project:
- Metro Stations in Paris (screens used for advertising purposes), Reaches many people at the same time, not restricted to students at the Sorbonne University.((POSSIBLE PROBLEMS WITH ASPECT RATIOS))
- Library in Brighton (Public Jibilee Library), closest location. Easiest to check and visit for me. Very related to ‘academic’ idea behind the project.
SCREEN EXAMPLES:
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(Plan B) Alternative location??
-This building was stablished in 2003 in order to preserve the archives and works of Henri Cartier- Bresson and his wife Martine Franck.
-Many other exhibitions are held druing the year in the building, showing the works of other artists.
-It is one of the most prestigious institutions in Paris.
-Some of the walls outside are plain white (projection??)
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Captures of the editing - my own footage
My Own Footprint
Despite the fact that I will be using archive footage and sounds from different sources that collected most of their films and photographs, I also intend to contribute to this ‘timeline’ of female filmmakers by adding my own shots and finding my way to relate to them, as I a a young filmaker as well,attached to my camera and interested in documenting events happening around me.
In order for the style of the film to stay quite uniform, I will add different effects to my own shots so that it blends better with the older archive footage. This could involve adding a grainy film effect, black and white filters…
My own shots are inspired by some of their videos or photographs, and I hope they have strong visual meanings and symbolism too. By including myself in the film as a woman writing protest signs or using a camera I get closer to their characters and some of the events they covered or how they expressed themselves. I try to add my own footprint alongside them.
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during the editing:
It is importamt for me to particularly concentrate on the visual side of the editing; I need the message of the video to rely strongly on the image. Since it could potentially play outside, the noise could become a problem. I need to use strong imagery to speak directly to the audience, regardless of location.
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LOCATION - idea
WHERE IS IT MEANT TO BE PLAYED/INSTALLED?
The ideal location in my opinion would be in Paris IV, which is one of the many Sorbonne University’s building located in the center of the city.
The history of that building dates from around the 13th Century, and it is the main inheritor of the Old Sorbonne; this was one of the first universities in the world to exist.
The main females that inspired me and motivated me to work on this project both studied at the Sorbonne; aside from that I was quite keen on projecting my work somewhere in the city of Paris since for me it is an icon for feminism, liberation and human rights more than anywhere else. There took place the exhibition on forgotten women photographers, which had quite a big inpact on me.
The reason why I chose this particular building is because it is the current faculty for studies related to languages, arts and literature or humanities. I would like to reach young audiences there, and provoke a thought, make them aware of those women who contributed so much to the arts, specially photography and video, and that are not known or have been forgotten; who studied in those same rooms and walked through the corridors just like them, who stood between those same walls where they are now...
I am still trying to figure out if I would sho it indoors or outdoors. The problem I could face outside is the strong shadows and the bright light, so I would maybe have to keep moving the projection to different areas during the day.
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Simone de Beauvoir
I read that Carole Roussopoulos (alongside Ioana Wieder and Delphine Seyrig) founded the AUDIOVISUAL CENTER SIMONE DE BEAUVOIR in 1982, Paris, in order to promote, produce and collect diverse audiovisuals on the rights and creation of art made by women.
This made me curious about who//why was Simone De Beauvoir such a relevant figure to them, and after doing some research I created even more links between the visuals I intend to edit and the place where I intend to project them:
Simone de Beauvoir (1908-1986) was a writer, philosopher, political activist and feminist, who is considered to have founded the basis for the modern feminist movements; and who also studied at the Sorbonne University in Paris in 1926 as a Philosophy student.
She wrote ‘The Second Sex’ (1949) in which she expressed her critique on patrairchy and second-rate status in which women are placed, which was banned and CONTROVERSIAL, just like Roussopoulos’ films. She also did fight for women’s rights and considered one of the great minds of the modern feminist movement.
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Disobedient Video in France in the 1970s: Video Production by Women’s Collectives by Stéphanie Jeanjean
(SUMMARY)
Stéphanie clearly presents in her essay how the role of women was fundamental for the development of film videos; nevertheless it is shocking to see how very little of their work has remained and how their productions have been practically undocumented, probably as a consequence of their ‘anti-institutional’ and ‘anti-establishment’ considered behavior.
In France, practically all the videos created around 1970 were done by women, making the video format quite a privileged medium for the women collectives, which they used to self-represent themselves; this, was seen as a gesture of disobedience and emancipation.
This happened probably as a consequence of the very little technology careers that were available to them, but also since women at the time were really suffering from pressure coming from their families and social expectations. This explains how it was a medium spread between them in little workshops such as The Kitchen in New York; it also influences the fact that video hadn’t been appropriated by men yet.
Carole Roussopoulos in Paris (1975) started giving lessons too, and alongside an actress she created the collective Les Femmes s’amusent ; they created some of the most important videotapes of that time. This new group in France represented a new way of behaving, perpetuating some of the ideals and ethics that had been proposed during May ’68, particularly those that involved a better equality between the classes and genders, becoming anti-authoritarian figures that fought sexism and exclusion.
Simone de Beauvoir was another of the participants that helped creating MLF (Mouvement de Libération des Femmes), which quickly became the top feminist organization in France. Most of the videos that were produced during the 70’s mostly involved the experiences women had to deal with in their work place (particularly the factories). Roussopoulos made a video in which she documented various workers from a factory in France, making women their main subject and as a director, let the women standing in front of the camera speak for themselves and show that their voices matter, it portrayed all the issues that could be addressed on class and gender. Grève des Femmes à Troyes is considered the first feminist video produced in France. It is important to notice too that videos by women’s collectives were hardly ever signed, as that contributed to emphasise the idea of the collective expression.
SCUM Manifesto, a video that Les Insoumuses made in 1976 was a response to the patriarchal institution that was the French television. “When videos set the stage for public debates on topics that were too controversial at the time for television or the public media; these videos are often the most graphic and potentially intimidating for viewers” such as Y’a qu’a pas baiser, a documentary made by Roussololous which showed pro-contraception and abortion interviews of women at the protest; another one could be Les Prostituées de Lyon parlent, which showed the first strike of prostitutes in 1975.
These alternative voices and expressions were very different from those considered politically correct (or sexist) content which was predominant in France at the time.
LIP collective did receive complaints from other feminists since they objected the fact that film leaders were not really representing the entire female community. The distribution of their work was only showed in small meeting of groups of feminists and they struggled with the distribution of those.
Since the videos were made were dealing with the problems at the time and addressing issues ad time passed, no effort was truly put into the preservation of them, and most of the productions have been lost. We should not forget, though, the impact their videos had and the inventiveness that feminist video collectives supposed and the action they took and how they directly communicated with the audience.
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