16 Jun 2011
Location: Auditorium, Temporary Stedelijk 2
Entrance fee: Free with a valid Museum ticket
Excerpting from the book Ostrannenie (2010), renowned film theorist and scholar Laura Mulvey engages in a conversation with film scholar Annie van den Oever about the notions of the manifestly uncanny and disruptive spectator experiences produced by new optical technologies. These developments have had a profound impact on the visual arts ever since the birth of the cinema. During this final Talking Film @ TS2 event of the season, Mulvey and van den Oever explore the idea of the uncanny, the estranging effects of new cinematic technology, and their roles in creating an “art” experience.
7:30 pm Welcome by Hendrik Folkerts (curator of the Public Program, Stedelijk Museum, Amsterdam)
7:35 pm Conversation between Laura Mulvey (professor of Film and Media Studies, Birkbeck College, University of London, London) and Annie van den Oever (director of the master’s program in Film Studies, University of Groningen, Groningen)
9:00 pm End
Note: All indicated times are approximate.
More information about the speakers:
Laura Mulvey is a renowned film scholar who wrote an influential manifesto on visual pleasure, narrative cinema, and the female viewing position. More recently, she wrote the seminal Death Twenty-four Times a Second: Stillness and the Moving Image(2006). She has made six films in collaboration with Peter Wollen, including Frida Kahlo and Tina Modotti (1980) and Riddles of the Sphinx (1978), as well as Disgraced Monuments (1994) with artist/filmmaker Mark Lewis. Mulvey is a professor of Film and Media Studies at Birkbeck College, University of London.
Annie van den Oever is the director of the master’s program in Film Studies, as well as of the Film Archive, at the University of Groningen. She is the founding editor of the book series The Key Debates: Mutations and Appropriations in European Film Studies, published by Amsterdam University Press. She is known for her bookOstrannenie (2010), in which she and Laura Mulvey explore the uncanny and estranging experience of new technologies as a prototypically prolonged perceptual “art” experience.