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Yann BeauvaisClick here to Print this Page
Like A Song.

In this way Berlin is seen in several Super 8 films and multi-screens, but finds its way into Hilda in the cabaret scene. This consciousness, as for many film-makers working with "personal cinema", is externalised in the mise en scène. But most certainly this inclusiveness brings us back to the fashioning of identities, and consequently, irrespective of the distance in styles, points to Maya Deren. To play a role, but also to film and express the body through the process of filming, are two stances which the film-maker plays to advantage. At night, identities are less defined; they evolve with the rush of experiences. Role playing permits the game of decoding, of having fun, so there are scenes of cabaret and of dressing up in rubber.

In this role play Anna Thew stands side by side with film-makers who have worked with issues of minority and gender. This outburst of expressiveness, of desire, allows her to work directly on inhibitions which frequently encumber sexual representation, particularly where this is presented in conjunction with AIDS. So Cling Film (1993) confronts inhibitions linked to heterosexual transmission; the notion that to promote a sensuous campaign for safer sex (sans risque) is not judged to be worthwhile. This film is located in a line of works of activism in which affirmation and denunciation are never detached from the need for pleasure, slicing through so much puritanical and moralist clap trap where sex is a thing banished to the strict confines of the need to reproduce. This film, with the body centre stage, shares with the new queer cinema, the delight of filming 'corps désirant'. One thinks here of certain films of Derek Jarman, Isaac Julian, for whom the scenography of the body; references to mannerist painting or genre painting, is used as a strategy for contaminating cinema with other propositions.

Still from Cling Film by Anna Thew, 1993
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