Post-Cinema and Feminism: Experiencing, Materiality, and Relocations
Małgorzata Radkiewicz
m.radkiewicz@uj.edu.plJagiellonian University (Poland)
https://orcid.org/0000-0001-6387-0810
Abstract
In the article the author explores post-cinema from a feminist perspective, emphasising materiality and relocation as key concepts for analysing contemporary audiovisual practices. Drawing on post-cinema theory and feminist approaches to embodiment, she argues that new film forms transform rather than reject cinematic traditions. A central case in these reflections is the work of Jennifer Reeves, whose use of 16 mm films, with recycled footage and organic interventions in the film material, highlights the interplay of materiality, haptics, and women’s experiences. Analyses of Kurdwin Ayub’s Sonne (2020) and Kate Beecroft’s East of Wall (2025) show how the introduction of a smartphone footage into the film may become an act of feminist autocreation. Referring to the reflections of Laura Mulvey and Martine Beugnet, as well as the theories of Francesco Casetti and Andrea Pinotti, the author argues that feminist post-cinematic practices integrate materiality, technological hybridity, and posthumanist perspectives on the relations between bodies, media, and environments.
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Keywords:
post-cinema, feminism, materiality, relocationReferences
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Authors
Małgorzata Radkiewiczm.radkiewicz@uj.edu.pl
Jagiellonian University Poland
https://orcid.org/0000-0001-6387-0810
Professor at the Institute of Audiovisual Arts at the Jagiellonian University (Kraków, Poland). Her research concerns contemporary cinema, gender, and women’s work in the areas of film, photography, and the arts. She published a book about women filmmakers (2001), and another one on Polish cinema of the 1990s (2006). In her book Władczynie spojrzenia. Teoria filmu a praktyka reżyserek i artystek [Female Gaze: Film Theory and Practice of Women Directors and Artists] (2010), she addresses women’s cinema and art in terms of feminist theory. In Oblicza kina queer [Faces of Queer Cinema] (2014), she analyses selected films dealing with queerness, sexuality and gender. Her latest book, Modernistki o kinie. Kobiety w polskiej krytyce i publicystyce filmowej 1918-1939 [Women Modernists on Cinema: Women in Polish Film Criticism 1918-1939] (2016), presents Polish female film critics of the 1920s and 1930s, quoting original articles and archive materials.
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