Creators’ Reflections

“I’ve been exploring the formal possibilities between manga and video, which stems from a collab project I did with Dayna McLeod in December, 2022” (Colleen Laird)

“I was influenced by Colleen Laird’s dynamic use of multiscreen in her recent submission to Tecmerin, as well as the work of both Colleen and Nila before me.” (Lucy Fife Donaldson)

 “I was influenced by and mindful of Desirée’s beautiful contribution, the multi-screen components throughout, and by the use of female joy onscreen by my predecessors. I knew I wanted to use Dorothy from the Wizard of Oz walking away to transition from Desiree’s piece, and Maria spinning in The Sound of Music seemed right. However, this lead me to a series of Disney princesses turning around, and I wanted to break this up, so brought in Flashdance and fight scenes. Because pixelation varied from clip to clip in terms of quality, and because I was taking a lot from Disn*y, I kept the watermark in the Cinderella clip as a nod to remix practices (the clip is backwards because I flipped it so it would match the spin of the previous and next shot). I also wanted to include some villains living their best life, so the challenge was getting from the spinning princesses, through dance and fighting to walking away. Jessica Rabbit proved the link to Cruella de Vi and Ursula. There was such a happy accident with lip synch here!” (Dayna McLeod)

 “My contribution was influenced by Colleen’s prompts (triptych), Dayna’s dynamic editing, Lucy and Viki’s women on wheels.” (Barbara Zecchi)

“The twirl at the end of the last clip is what started my search; the triptych of the inspiration, and the joys of women that my predecessors highlighted definitely inspired me. The shot from Gloria Bell (or the Chilean original, Gloria) is one of my favorite shots full-stop, and I was thrilled to use it here.” (Jeff Middents)

“As I watched what had already been done, got to thinking about women in motion (the flaneuse!) in urban and rural contexts, how movement is shaped by race and class, and juxtapositions of distinct historical moments. I was also inspired by Desiree’s use of opacity, and tried to use it to play with chromatic and historical overlay; aimed for a kind of “eyeline match” between Y tu mama and Howards where the woman in the former looks “at” people leaving building in latter; and wanted to echo the color purple (figure skater, Gloria Bell) from earlier and women running joyfully in line with music at the very end of my 20 seconds.” (Joel Burges)

“My segment was inspired by Colleen’s multiscreen prompt (used so brilliantly by those preceding me) and also by the colour suggested by it, which made me immediately think of the hair colour of the character of New Zealand author Janet Frame in Jane Campion’s marvellous biopic, played in the film by four differently aged actresses, each introduced to us in perambulatory motion.” (Catherine Grant)

“The form is influenced by Maryam Tafakory’s beautiful collage video art, specifically Nazarbazi (2022)” (Alison Peirse)