Laura Mulvey

Esta investigación explora cómo el diseño de las tomas cinematográficas puede contribuir al abuso y agresión sexual, así como a la discriminación laboral que enfrentan las mujeres en la industria del cine.

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?

Sex sells. What sells even more? Insecurity. Multi-billion dollar industries saturate our lives with images of unattainable beauty, exporting body hatred from New York to Beirut to Tokyo. Their target? Women, and increasingly men and children. "The Illusionists" turns the mirror on media, exposing the absurd, sometimes humorous, and shocking images that seek to enslave us.

23 August 2008 consists of two shots. A brief opening shot, intercut with inter-titles, of the famous Al-Mutanabbi Street book market in Baghdad is followed by an unbroken eighteen-minute monologue, shot from a single, still camera position and simply recording the speaker’s words without interruption. In it, Faysal Abudullah gradually builds a portrait of his relationship with his younger brother, Kamel, and in the process evokes the lives of Iraqi intellectuals of the left, driven into exile in the early 1980s by Saddam Hussein’s regime. Faysal describes Kamel’s decision to return to Iraq in 2003, his work for the new Ministry of Culture and his tragic death at the hands of unknown assassins on 23 August 2008. While the film throws light on little known aspects of Iraq’s political history, primarily it is the story of the two brothers, of Faysal’s devotion to Kamel and their contrasting attitudes to exile and to life itself.

A series of interviews about the film Peeping Tom (1960). It includes a rare interview with Karlheinz Böhm talking about his role and its subsequent effect on him.

Filmmakers Laura Mulvey and Mark Lewis use rare archival footage and interviews with artists, art historians, and museum directors to examine the fate of Soviet-era monuments during successive political regimes, from the Russian Revolution through the collapse of communism. Mulvey and Lewis highlight both the social relevance of these relics and the cyclical nature of history. Broadcast on Channel Four as part of the 'Global Image' series (1992-1994).

Filmmakers Laura Mulvey and Mark Lewis use rare archival footage and interviews with artists, art historians, and museum directors to examine the fate of Soviet-era monuments during successive political regimes, from the Russian Revolution through the collapse of communism. Mulvey and Lewis highlight both the social relevance of these relics and the cyclical nature of history. Broadcast on Channel Four as part of the 'Global Image' series (1992-1994).

Filmmakers Laura Mulvey and Mark Lewis use rare archival footage and interviews with artists, art historians, and museum directors to examine the fate of Soviet-era monuments during successive political regimes, from the Russian Revolution through the collapse of communism. Mulvey and Lewis highlight both the social relevance of these relics and the cyclical nature of history. Broadcast on Channel Four as part of the 'Global Image' series (1992-1994).

A white bisexual vampire, Lillia, is trapped in a monotonous cycle with her thoughtless, misogynist vampire partner, Luke (who, while also being a bisexual, prefers to devour women prey). Her encounter with Black lesbian Zena, who is reading about goddesses across religions and cultures and thinking about the horror film genre, pulls Lillia out of a state of bad faith into an enlightened state of knowledge and play. 'The Mark of Lilith' was the graduation film of Bruna Fionda, Polly Gladwin, Zach Mack-Nataf’s from The London College of Printing, under the tutorship of Laura Mulvey. The film was shot in Brixton and made with a cast and crew of local filmmakers, artists and activists. The Mark of Lilith was digitally restored from the 16mm print by the BFI in 2021.

A exploration of the origin, theory, philosophy and themes of Stephen Dwoskin's films from 1963 to 1984.

Jane is the illegitimate daughter of a Scottish landowner. She is disowned and expelled from his estates, but although she settles down to a new life in London, she is still haunted by the memory of her childhood and her mother's mysterious death. In a trance, she sets out on dreamlike journeys in search of freedom and revenge.

An unconventional portrait of painter Frida Kahlo and photographer Tina Modotti. Simple in style but complex in its analysis, it explores the divergent themes and styles of two contemporary and radical women artists working in the upheaval of the aftermath of the Mexican Revolution.

An unconventional portrait of painter Frida Kahlo and photographer Tina Modotti. Simple in style but complex in its analysis, it explores the divergent themes and styles of two contemporary and radical women artists working in the upheaval of the aftermath of the Mexican Revolution.

Experimental drama set in London during the Thatcher administration involving four characters: Neil, a science-fiction illustrator, who is accidentally killed in Mexico City; Kim, a woman rock musician; Vermilion, an analyst of satellite photography; and Julian, an old friend of the illustrator who has just finished his Ph.D thesis on the fairy-tales of Charles Perrault. Their four lives are closely interlinked as events happen to each of them.

Experimental drama set in London during the Thatcher administration involving four characters: Neil, a science-fiction illustrator, who is accidentally killed in Mexico City; Kim, a woman rock musician; Vermilion, an analyst of satellite photography; and Julian, an old friend of the illustrator who has just finished his Ph.D thesis on the fairy-tales of Charles Perrault. Their four lives are closely interlinked as events happen to each of them.

Amy Johnson was the first woman to fly solo from Great Britain to Australia. Mulvey and Wollen’s experimental documentary combines newsreel footage of the aviator’s arrival, dramatic recreations of events from her life and contemporary discussions by feminist groups on the subject of heroism in this most unconventional biopic.

Inspired by Virginia Woolf, a young writer worries that marriage will hinder her literary ambitions. The film includes extracts from Virginia Woolf's novel To the Lighthouse and her essay Professions for Women, both read by feminist filmmaker and theorist Laura Mulvey.

Avant-garde appeal on behalf of and made by the adventurous leftist London cinema, The Other Cinema, using the facilities provided by the BBC community programme unit.

Mulvey's readings of the myth of Oedipus and the sphinx are layered atop 360º panning shots of various locales; the protagonist appears in elliptically-edited sequences.

Mulvey's readings of the myth of Oedipus and the sphinx are layered atop 360º panning shots of various locales; the protagonist appears in elliptically-edited sequences.

Mulvey's readings of the myth of Oedipus and the sphinx are layered atop 360º panning shots of various locales; the protagonist appears in elliptically-edited sequences.

Penthesilea, the first of six films made by Laura Mulvey and Peter Wollen, traverses thousands of years to look at the image of the Amazonian woman in myth. It asks, among other questions, is the Amazonian woman a rare strong female image or is she a figure derived from male phantasy? The film explores the complexities of such questions, but does not seek any concrete answers.

Penthesilea, the first of six films made by Laura Mulvey and Peter Wollen, traverses thousands of years to look at the image of the Amazonian woman in myth. It asks, among other questions, is the Amazonian woman a rare strong female image or is she a figure derived from male phantasy? The film explores the complexities of such questions, but does not seek any concrete answers.

Penthesilea, the first of six films made by Laura Mulvey and Peter Wollen, traverses thousands of years to look at the image of the Amazonian woman in myth. It asks, among other questions, is the Amazonian woman a rare strong female image or is she a figure derived from male phantasy? The film explores the complexities of such questions, but does not seek any concrete answers.