Editing & Publishing
Another Gaze Issue 05
Including writing about Theresa Hak Kyung Cha, Linda Manz, Sadie Benning, Sarah Maldoror, Cecilia Mangini, Agnes Martin, Peggy Ahwesh, Kira Muratova, Alina Szapocznikow, Jean Genet and more...
On subjects including an interrogation on cinephilia and gender, surveillance, infant observation during the pandemic and the screen as psychic portal, Beirut on film, devotional labour, prisons during lockdown, the notion of solidarity, reproduction and futurity, and much more...
Roundtables about Sarah Maldoror; hands and fate, work, pleasure, touch, and surveillance; early women's travel films...
Plus, the year in review...
Featuring writing and contributions by María Palacios Cruz, Lizzie Borden, Kathryn Scanlan, Yasmina Price, Nicolas Russell, Rebecca Liu, Georgie Carr, Pooja Rangan, Jonathan Rosenbaum, Nuotama Bodomo, Phoebe Campion, Janaina Olivera, Cassie da Costa, Frank Beauvais, AS Hamrah, Awa Konaté and many more...
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
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 Spoor – Missouri Williams
Imagined Adaptations – Elissa Suh
Six Men, a Yacht, and an Erection: Troubled Masculinities in Athina Rachel Tsangari’s Chevalier – Ruby 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 Film – Rachel 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 People – Vivien 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 Diary – Anjo-marí Gouws
A Durational Reading of Anne Charlotte Robertson’s Five Year Diary – Kathryn 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.Perfect – Rebecca 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
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 Spoor – Missouri Williams
Imagined Adaptations – Elissa Suh
Six Men, a Yacht, and an Erection: Troubled Masculinities in Athina Rachel Tsangari’s Chevalier – Ruby 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 Film – Rachel 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 People – Vivien 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 Diary – Anjo-marí Gouws
A Durational Reading of Anne Charlotte Robertson’s Five Year Diary – Kathryn 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.Perfect – Rebecca 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
