Une constellation invisibilisée
Kate Millett is an iconic figure of American feminism. If she has remained famous for her literary work, her artistic practice and correlatively the transmission strategies that she organized specifically for young women sculptors, painters or even videographers have remained in the shadows. For Kat...
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| Format: | Article |
| Language: | fra |
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Association Genres, sexualités, langage
2022-07-01
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| Series: | Glad! |
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| Online Access: | https://journals.openedition.org/glad/4405 |
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| _version_ | 1832580993299513344 |
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| author | Marie-Dominique Gil |
| author_facet | Marie-Dominique Gil |
| author_sort | Marie-Dominique Gil |
| collection | DOAJ |
| description | Kate Millett is an iconic figure of American feminism. If she has remained famous for her literary work, her artistic practice and correlatively the transmission strategies that she organized specifically for young women sculptors, painters or even videographers have remained in the shadows. For Kate Millett, the film Three Lives (1971), directed by an exclusively female team, constitutes the concrete application of a feminist teaching of the cinematographic arts. By considering that the women who took part in this project participated in the birth of an artistic constellation, this article focuses on the socio-historical mechanisms at work in the invisibilization of the relationship between Kate Millett and her collaborators. Examining the theoretical genesis of the film, the stories of the deterioration of relations within the team as well as the cross-effects of feminist criticism and mainstream criticism of its reception, will take into account the silences of historiography as a way to think, or rethink, the history of women’s art. |
| format | Article |
| id | doaj-art-dda3ad98cc2d4e97a8b2f71fd73e2fcd |
| institution | Kabale University |
| issn | 2551-0819 |
| language | fra |
| publishDate | 2022-07-01 |
| publisher | Association Genres, sexualités, langage |
| record_format | Article |
| series | Glad! |
| spelling | doaj-art-dda3ad98cc2d4e97a8b2f71fd73e2fcd2025-01-30T10:37:42ZfraAssociation Genres, sexualités, langageGlad!2551-08192022-07-011210.4000/glad.4405Une constellation invisibiliséeMarie-Dominique GilKate Millett is an iconic figure of American feminism. If she has remained famous for her literary work, her artistic practice and correlatively the transmission strategies that she organized specifically for young women sculptors, painters or even videographers have remained in the shadows. For Kate Millett, the film Three Lives (1971), directed by an exclusively female team, constitutes the concrete application of a feminist teaching of the cinematographic arts. By considering that the women who took part in this project participated in the birth of an artistic constellation, this article focuses on the socio-historical mechanisms at work in the invisibilization of the relationship between Kate Millett and her collaborators. Examining the theoretical genesis of the film, the stories of the deterioration of relations within the team as well as the cross-effects of feminist criticism and mainstream criticism of its reception, will take into account the silences of historiography as a way to think, or rethink, the history of women’s art.https://journals.openedition.org/glad/4405feminismcollectiveeducationgender studiesarts |
| spellingShingle | Marie-Dominique Gil Une constellation invisibilisée Glad! feminism collective education gender studies arts |
| title | Une constellation invisibilisée |
| title_full | Une constellation invisibilisée |
| title_fullStr | Une constellation invisibilisée |
| title_full_unstemmed | Une constellation invisibilisée |
| title_short | Une constellation invisibilisée |
| title_sort | une constellation invisibilisee |
| topic | feminism collective education gender studies arts |
| url | https://journals.openedition.org/glad/4405 |
| work_keys_str_mv | AT mariedominiquegil uneconstellationinvisibilisee |