Abstract/Summary

This research project claims that coauthorship in women’s moving image has been triplemarginalised because it is made by women, doesn't conform to the notion of the individual auteur, and exists between and across individual artists’ oeuvres. I propose that a study of women’s coauthored moving image, the relationships that generated it, the motivations that drove the coauthorships, and how the technology was used, generates a new understanding of the moving image field. I hope that this new understanding will help inform contemporary art practice, as well as my own in which coauthorship has been central. This project also incorporates my own visual art practice. In this study I contextualise my own artworks through case studies of coauthored moving image by Shirley and Wendy Clarke, Marie Menken and Andy Warhol, Kathy Acker and Alan Sondheim, Carole Roussopoulos and Delphine Seyrig, Barbara Hammer and Max Almy, and others. I also analyse my own work, considering how the processes, relationships, and themes in my own art-making (including my coauthorships) in relation to historic moving image coauthorships by women. By examining why the project became important to me, I consider the dyadic relationships in my own works and how these relate to the dyadic relationships that produced the works in my case studies. I ask how one can examine the methods and intentions of coauthored film and video through making coauthored video, and what the resulting works look like. And how an individual such as I can critique/reflect on coauthorship through individually-made artworks