Laura Mulvey

Oliver Fuke

S.S. Sandhu

A collection of essays and speculative texts about a body of theory-films, montage documentaries and cinematic essays produced between 1974 and 2013.

Beyond the Scorched Earth of Counter-cinema

Laura Mulvey and Peter Wollen

This collection of Laura Mulvey and Peter Wollen's film scripts vividly evokes the close connection between their influential work as theorists and their work as filmmakers. It includes scripts for all six of Mulvey and Wollen's collaborative films, Wollen's solo feature film, Friendship's Death (1987), and Mulvey's later collaborations. Each text is followed by a new essay by a leading writer, offering a critical interpretation of the corresponding film. The collection also includes Wollen's short story Friendship's Death (1976), the outlines for two unrealised Mulvey and Wollen collaborations, and a selection of scanned working documents. The scripts and essays collected in this volume trace the historical significance of a complex cinematic project that brought feminist, semiotic and psychoanalytic concerns together with formal devices and strategies. The book includes original contributions from Nora M. Alter, Kodwo Eshun, Nicolas Helm-Grovas, Esther Leslie, Laura Mulvey, Volker Pantenburg, Griselda Pollock, B. Ruby Rich and Sukhdev Sandhu.

Scripts, Working Documents, Interpretation

The Films of Laura Mulvey and Peter Wollen

An examination of renowned theorists Laura Mulvey and Peter Wollen's independent and collaborative films, and how they intersect with feminism, film theory and psychoanalysis. This book focuses on renowned theorists Laura Mulvey and Peter Wollen's independent and collaborative films, and how they intersect with feminism, film theory, and psychoanalysis. The aim of the volume is broadly threefold: to encourage further study of Mulvey and Wollen's contribution to the theory and practice of experimental film; to draw attention to their script's value as written texts; and to challenge a common misconception that their individual and collaborative film-making practices end at the close of the 1970s. The historical overview provided by Mulvey in her introduction underscores the sense that her and Wollen's individual and collaborative films were the result of sustained attempts to make political films under rapidly changing economic and political conditions.

Oliver Fuke

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