Editing & Publishing



March 2020
Another Gaze Issue 04


Founded in 2016, Another Gaze is a feminist film journal, situated somewhere between academic and journalistic modes and taking as its subject filmmakers, protagonists and spectators who identify as women. Since 2018, the journal has also appeared in print biannually and is currently on its fifth issue. The print issue is sold around the world, in bookshops and museums, from Beirut to Texas.

As featured on i-D, Dazed & Confused, MagCulture, Criterion, Guardian G2 and in Filmmaker Magazine.

“Another Gaze is feminist film how we need it.” – Eileen Myles

“A refreshing take on film, much needed in our times, this journal is critical and, at the same time, celebratory” - Moma PS1

“This gorgeous print magazine is created & designed by women, with lots of intelligent film writing by women, and it’s amazing” – Dazed & Confused

“Another Gaze is a beautiful companion for your cinematic adventures!” – Woman Under The Influence

“If you are serious about film as seen through another gaze, check out this journal. It’s an essential read” – Athena Mandis

“In-depth, far-reaching investigation and interpretation of female cinema” - Rare Mags




Table of contents

ISSUE 03

After Agnès Varda: A Roundtable Discussion – Grace Barber-Plentie, Jenny Chamarette, Lauren Elkin, Sandy Flitterman-Lewis, AS Hamrah, Sheila Heti, Kiva Reardon, Samia Labidi

Agnès Varda’s Brilliant Alchemy – Sandy Flitterman-Lewis

The words and worlds of Carolee Schneemann and Barbara Hammer with two thoughts by Agnès Varda – Alexandra Juhasz

Talking Cinema: Remembering Barbara Hammer (1939–2019) – Gabriella Beckhurst

Locating the Lesbian Hand in Barbara Hammer’s Early Films – Brodie Crellin

In Conversation With Barbara Hammer – Another Gaze

Thinking through Camille Billops (1933–2019) –Terri Francis

The Making of a Millennial Woman – Rebecca Liu

“(Gay Panic)”: Why I Love Fan Subtitles – Devan Wells

The Communicative Power of Silence – Minou Norouzi

Femme, butch and in-between : re-seeing myself between the frames – Claire Mead

Glimpses of her: Grieving through cinema – David Lee-Astley

In Conversation With Akosua Adoma Owusu – Gazelle Mba

Studies in Natural Magic: The video work of Charlotte Pryce – Matt Turner

The Great Digestive Machine: inside the choreography of Loie Fuller and the underwater cinema of Geneviève Hamon and Jean Painlevé – Lauren Collee

No Other Voice: Claire Denis’s High Life – Hannah Paveck

A Different Kind of Duration: Lila Avilés’s The Chambermaid – Hannah Paveck

Dominga Sotomayor’s Unstable Utopias: ‘Too Late to Die Young’ – Bessie Rubinstein

In Search of Gloria Camiruaga, A Lesser- Known Pioneer of Chilean Video Art – Eliza Levinson

Who gets to be ‘the people’? Astra Taylor’s What Is Democracy? and Gabrielle Brady’s Island of the Hungry Ghosts – Rebecca Liu

Filming Philosophy: Interview with Astra Taylor – Esmé Hogeveen

Women on the Edge: History, Temporality, Sisterhood and Political Militancy in Marge Piercy’s Vida and Margarethe von Trotta’s Die bleierne Zeit – Hannah Proctor

From avant-garde masterpiece to divisive film remake — On Ingeborg Bachmann’s Malina – Brigette Manion

Crisis-women: Prostitution and Capitalist Modernity in Lina Wertmüller’s Love and Anarchy – Lila Bullen-Smith

“It was me, but it was not me”: The Uncertain Feminism of Catherine Breillat – Beatrice Loayza

“You Don’t Know What You Want, Do You?” The Life and Work of Jane Arden – Joe Passmore

Into The Shadows and Back Out Again: Penny Slinger’s Violent Seductions – Adina Glickstein

The Visible Woman: In Conversation with Penny Slinger – Sophia Satchell-Baeza

The Big Swallow: In Search of Yonic Imagery – Tilde Fredholm

A Portrait of an Unseen Female Grotesque: Carol Morley’s The Alcohol Years (2000) – Frances Hatherley

In Conversation With Ericka Beckman; On her Super-8 Trilogy – Jesse Cummings

The queer subjectivity of Charlotte Prodger’s BRIDGIT – Frances Whorrall-Campbell

Desire in Language – Suspended: Ulrike Ottinger’s Madame X and the Female Speaking Subject – Eva Klein

Still Appropriating?: Ulrike Ottinger’s Shifting Archive of Identity – J. Makary

Hito Steyerl’s Grey Zone – Mimi Howard

Red, White, Yellow, and Black: A Multiracial Feminist Video Collective, 1972-73 – Emily Watlington

On Ana’s Archive – Lily Hill Evans

“A known fact masquerading as a secret” – On Another Gaze’s ‘Unvictiming’ programme – Phoebe Chen

The Language of Traces: On Mati Diop – Bessie Rubinstein

Review: ‘Atlantique’ – Rebecca Liu

Review: Lee Chang-Dong’s ‘Burning’ – Phoebe Chen

Burning Rage: Oh Jung-mi and the Female Auteur – Suzanne Enzerink and Claire Gullander-Drolet

Angela Schanelec’s ‘I was at home but…’ / ‘Ich war zuhause, aber…’ – Laura Staab
ISSUE 04 

The Last Good Male Film Critic – Missouri Williams

On Lorenza Mazzetti – Francesca Massarenti

“No Legibility for Some, Illegibility for All”: Subtitles, Captions, and the Pursuit of a Comprehensive World – Sasha Kohan

Towards a diffractive cinema: The video works of Amanda Baggs – Julián Gatto

Otherwise Notes on Being Perennially In-Between – Therese Henningsen and Andrea Luka Zimmerman

Towards an Embodied Ecocriticism: On Laure Prouvost’s ‘Shed a Light’ (2018) – Adina Glickstein

A Sense of the Sublime: In Conversation with Brett Story – Amanda Barbour

Dreamscapes and Ethnospheres: Ben Rivers and Anocha Suwichakornpong’s KRABI, 2562 (2019) – Phoebe Campion

On Agnieszka Holland’s Spoor and the difficulties of translating between worlds – Lauren Collee

How Do You Solve a Problem like Duszejko?: On Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead and Agnieszka Holland’s SpoorMissouri Williams

Imagined Adaptations – Elissa Suh

Six Men, a Yacht, and an Erection: Troubled Masculinities in Athina Rachel Tsangari’s ChevalierRuby Mastrodimos

A Critic Between Sontag’s Cannibals – Bessie Rubinstein

Oubliette – Jen Calleja

My Own Lens and Skin: Betzy Bromberg on Personal Filmmaking – Kathryn Siegel

Peyote Queen: Trance, Ritual and the Female Body in the short films of Storm De Hirsch – Sophia Satchell-Baeza

The Creative Afterlife: Zia Anger’s My First FilmRachel Stone

Zia Anger and Ashley Connor in conversation

Ashley Connor and the Cinematography of Teenage Female Identity – Nicole Davis

Maggie Gyllenhaal, The Deuce, & the Rise of Intimacy Coordinators – EC Flamming

Cumming Back to Life – The Horrors of Heteronormativity in Bruce LaBruce’s Otto; or, Up with Dead PeopleVivien Cahn

Sleepwalking Lessons: Repetition and Insistence in Chantal Akerman and Pina Bausch – Zara Joan Miller

For Magdalena Montezuma – Julia Sirmons

Desirous dreams: the feminist erotics of Rebecca Horn’s Berlin Exercises in Nine Parts (1974-5) – Evelyn Whorrall-Campbell

Describing the world otherwise: Anne Charlotte Robertson’s Five Year DiaryAnjo-marí Gouws

A Durational Reading of Anne Charlotte Robertson’s Five Year DiaryKathryn Scanlan

Strike on Film: Madeline Anderson’s ‘I Am Somebody’ – Mimi Howard

Mr Zuckerberg, Tear Down My Wall: Karim Amer & Jehane Noujaim’s The Great Hack and Zhu Shengze’s Present.PerfectRebecca Liu

Sense-Making From The Ground Up: On The Films of Beatriz Santiago Muñoz – Gazelle Mba

Interview with Director Amandine Gay on her Film Speak Up (Ouvrir la voix) – Cassie da Costa

The Field of Vision: Maya Da-Rin and Camila Freitas – Laura Davis

In Conversation With Maya Da-Rin – Beatrice Loayza

Towards a Quilombo Cinema: A conversation between Everlane Moraes, Janaína Oliveira, Kênia Freitas, and Tatiana Carvalho Costa –  Tr. Lillian Maguire and Natalia Davies.

Unrequited Passions: Notes on Kira Muratova Muratova – Lizzie Homersham

Queer Bloc: Situations, Generations, Nations – Lina Žigelytė

No Such Thing As Society?: Kira Muratova’s Redemptive Materialism – Georgie Carr

Gong Li’s Rebellious Transformations – Beatrice Loayza

Against Lists – Elena Gorfinkel





Mark