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'A minor cinema, like a diaspora, doesn’t stake out a territory of its own but moves through foreign land. I am planting no flags. The mapping of space – cinematic, gendered, literal – is how the commons are enclosed, a process of colonialism. As residents of the borderlands, enclosure is not our friend. Olson and Prodger are anomalies in this milieu for naming queerness, Butchness, in their work, while Akerman, infamously, rejected queer categorisation. I will not enclose us to our neat corner of film history; instead, I am proposing a disobedient relationship to the landscape, one in which, as Giuliana Bruno notes, a ‘spatial attachment does not become a desire to possess’. ‘Dislocation’, Bruno tells us, ‘has always marked the terrain of the female traveller.’ She offers us an understanding of gender as geography, terrains which we negotiate. Voyage is socially defined as male through its dialectical dependency on a home – a motherland, a waiting wife – to which one will return. The female traveller is dislocated from her proper place. For our Butch travellers, this contradiction is heightened; there is no return to domestic, heterosexual life. The Butch occupies a disorienting ‘queer slant’ in space, and, as Sarah Ahmed suggests, this feeling of not-at-home holds potential for encountering space differently.'

Queer Territories/Lesbian Lenses, Aislinn Evans FVU

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Belle du Jour, 1967

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Belle du Jour, 1967

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'My jealousy has various sources, but one is the unsophisticated yet unshakable sense that a work of visual art – even a photograph or film installation – is more real, more actual, than a machine made out of words.'

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The Nouveau Roman (French pronunciation: [nuvo ʁɔmɑ̃], "new novel") is a type of 1950s French novel that diverged from classical literary genres.[1]Émile Henriot coined the term in an article in the popular French newspaperLe Monde on May 22, 1957[2] to describe certain writers who experimented with style in each novel, creating an essentially new style each time. Most of the founding authors were published by Les Éditions de Minuit with the strong support of Jérôme Lindon.