{"id":1094,"date":"2026-02-20T10:18:25","date_gmt":"2026-02-20T10:18:25","guid":{"rendered":"https:\/\/kdm.akbild.ac.at\/?page_id=1094"},"modified":"2026-09-08T09:50:59","modified_gmt":"2026-09-08T09:50:59","slug":"counter-images","status":"publish","type":"page","link":"https:\/\/kdm.akbild.ac.at\/?page_id=1094","title":{"rendered":"SS26-SS27 \/\/ COUNTER-IMAGES | COUNTER-NARRATIVES: FEMINIST AESTHETICS IN ART AND CINEMA"},"content":{"rendered":"\r\n

Seminar and Interdisciplinary Dialogue between the Film Academy Vienna & the Academy of Fine Arts Vienna<\/h3>\r\n\r\n\r\n\r\n
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Helke Sander: Die allseitig reduzierte Pers\u00f6nlichkeit – Redupers (The All-Round Reduced Personality \u2013 Redupers), 1978, BRD, BW, 98 min.<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

In this teaching-research seminar, we analyze and discuss historical as well as current feminist film-aesthetic strategies. The focus is on materialist-feminist and intersectional critical approaches that examine the interlinking of aesthetic forms with societal relations of production and power. This perspective includes a critique of capitalism dimension that specifically interrogates the conditions of artistic production, the valorization logics of aesthetic labor, and the emancipatory potentials of critical practices. The aim is to understand how filmic and artistic works not only represent social relations but produce and reproduce them\u2014and how they simultaneously open up possibilities for intervention to critique and transform dominant relations. Filmmakers and theorists will be invited for dialogue in order to bring art and film as well as theory and practice into productive exchange. The events aim to contribute to sharpening awareness of feminist film history and aesthetics and to encourage the development of one’s own artistic and theoretical engagements.<\/p>\r\n


This event is a collaboration between Prof. Christine Lang (Media and Film Studies | Film Academy Vienna) and Prof. Constanze Ruhm (Art and Time\u2014Media | Institute for Fine Arts). It positions itself as an interdisciplinary dialogue between the Film Academy Vienna and the Academy of Fine Arts Vienna. COUNTER-IMAGES \/ COUNTER-NARRATIVES: FEMINIST AESTHETICS IN ART AND CINEMA will be held in the winter semester 2026\/27 as the second part of the seminar that began in the summer semester of 2026. Prior attendance is not required for participation in the winter term.<\/p>\r\n\r\n\r\n\r\n

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THEMATIC FOCUS AREA WINTER TERM 2026<\/strong><\/h3>\r\n\r\n\r\n\r\n

Queer Cinema as Counter Narrative<\/h3>\r\n\r\n\r\n\r\n

FILMS<\/strong>
Jessica Dunn Rovinelli: So Pretty (USA\/Frankreich, 2019)
Jane Schoenbrun: We’re All Going to the World’s Fair (USA, 2021) Jane Schoenbrun: I Saw the TV Glow (USA, 2024)
Barbara Hammer: Nitrate Kisses (USA, 1992)
Angelika Levi: Mein Leben Teil 2 (Deutschland\/Chile, 2003)
Sarnt Utamachote: I Don’t Want to Be Just a Memory (2024)
Zara Zandieh: Octavia’s Visions (Deutschland, 2021)
Samira Elagoz & Z Walsh: You Can’t Get What You Want But You Can Get Me (Niederlande\/Finnland, 2024)
C\u00e9line Sciamma: Tomboy (Frankreich, 2011)
Lola Arias: Reas (Argentinien\/Deutschland\/Schweiz, 2024)
Monika Treut: Gendernauts (Deutschland, 1999)<\/p>\r\n

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THEMATIC FOCUS AREAS SUMMER TERM 2026<\/strong><\/h3>\r\n

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Invisible Labor \/ The Body as Economy: Feminist Positions on the Critique of Capitalism<\/strong><\/h3>\r\n

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FILMS<\/strong>
Sally Potter: The Gold Diggers (England 1983)
Alice Rohrwacher: Lazzaro felice \/Lazzaro Felice (Italien 2018)
Marta Rodriguez: Chircales\/The Brickmakers (Kolumbien 1972)
Agn\u00e8s Varda: Les glaneurs et la glaneuse (Frankreich 2000)\u00a0
Martha Rosler: Semiotics of the Kitchen (USA 1975)
Helke Sander: Redupers (Deutschland 1978)
Tatjana Turanskij: Ein flexible Frau (Deutschland 2010)
Helma Sander Brahms: Unter dem Pflaster ist der Strand (Deutschland 1975)\u00a0
Erika Junge: Warum ist Frau B. gl\u00fccklich? (Deutschland 1968)
Kelly Reichardt: Wendy and Lucy (USA 2008)\u00a0<\/p>\r\n

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Feminist Perspectives on Care Work, Self Exploitation, Precarization<\/strong><\/h3>\r\n

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FILMS<\/strong>
Geri Ashur, Peter Barton, Marilyn Mulford, Stephanie Pawleski: Janie’s Janie (USA, 1971)
Hito Steyerl: Factory of the Sun (Deutschland, 2015)
Hito Steyerl: Mechanical Kurds (Deutschland, 2025)
Carmen Trocker: Personale (Italien \/ \u00d6sterreich, 2024)
Sheila McLaughlin, Lynne Tillman: Committed (USA, 1984)
Helke Sander: Eine Pr\u00e4mie f\u00fcr Irene (BRD, 1971)
Elisabeth Subrin: Maria Schneider, 1983 (Frankreich \/ USA, 2022)
Helma Sanders-Brahms: Die industrielle Reservearmee (BRD, 1971)
Claudia von Alemann: Es kommt drauf an, sie zu ver\u00e4ndern (BRD, 1972\/73)
Yvonne Rainer: Lives of Performers (USA, 1972)<\/p>\r\n

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THEMATIC FOCUS AREA SUMMER TERM 2027<\/strong><\/h3>\r\n

Feminist \/ intersectional Film Collectives: Selected historical and contemporary positions<\/strong><\/p>\r\n

Rojava Film Commune | Palestinian Cinema Unit | Karrabing Film Collective | Cine Mujer | Les Insoumuses | Collectif 50\/50 | Collettivo Femminista di Cinema | Le Nemesiache | Kaidu Club | \u00a0| Street Film Collective London Women\u2019s Film Group | Sheffield Film Co-op | New York Newsreel | Northern and Eastern Syria<\/p>\r\n

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Here is a comprehensive overview of some of these collectives including preview links:<\/strong><\/p>\r\n

Feminist \/ Intersectional Film Collectives<\/a><\/blockquote>