“Gleaning, Détournement and the Compilation Film: Some thoughts on For One More Hour With You / Un’ora Sola Ti Vorrei (Alina Marazzi, 2002),” a Research Seminar by Laura Mulvey (Professor of Film and Media Studies at Birkbeck, University of London) October 13th, 2015. Organised and chaired by Dr Catherine Grant at the School of Media, Film and Music, University of Sussex.
Summary
Professor Mulvey discussed the powerful documentary Un’ora sola ti vorrei (2002) – For One Hour More with You – by Italian filmmaker Alina Marazzi, in which, using a combination of home-movie footage and readings from her mother’s diary, Marazzi probes the meaning of the life and loss of her mother, who died of her own hand when the filmmaker was seven years old. Mulvey explores this film as a contribution to women’s history, as well as as a compilation film (one that uses the techniques of détournement) in the context of Derrida’s work on ‘archive fever’ and the Freudian/Laplanchian concept of Nachträglichkeit, or afterwardsness.
Q&A session after Laura Mulvey’s talk
Bio
Laura Mulvey has been writing about film and film theory since the mid-1970s. She has published Visual and Other Pleasures (1989, new updated edition 2009), Fetishism and Curiosity (1996 new edition 2013), Citizen Kane (1996 new edition 2012), Death Twenty-four Times a Second: Stillness and the Moving Image (2006). In the late 1970s and early 1980s, she co-directed six films with Peter Wollen including Riddles of the Sphinx (1978; dvd release 2013) and Frida Kahlo and Tina Modotti (1980). In 1994, she co-directed Disgraced Monuments (Channel 4) with artist/filmmaker Mark Lewis, with whom she has also made 23 August 2008 (2013). She is Professor of Film and Media Studies at Birkbeck, University of London, and was the founding director of the Birkbeck Institute for the Moving Image.
Video recording by Adam Whitehall
Video production (including editing) by Catalina Balan