Naomi Bolser

The films presented here form a personal archive of my moving image work.

​

As a photographer, filmmaker and educator, I am interested in the language of representation. How can women use a language of moving image that has elided their experience and consistently represented them as having no agency in film.  What does it mean for women to make images with a camera, and how can an artistic process communicate concepts around exclusion to an audience?

​

For over a decade I have been engaged in practice-based research into the history of women's use of amateur domestic technology to make alternative moving images, images that reflect and represent their experience as 'othered' in the film industry. The work I make is a response to this understanding.

​

Women's independent moving image interrupts mainstream narratives that cast women as lacking relevant agency in filmmaking, The emerging cannon challenges the assumption that women have not made moving image in significant numbers. The new categorization reveal's millions of overlooked works, made as a repost to their exclusion, now available through digital platforms or 'the distributed archive'. 

 

Archiving and creating new categorizing paradigms questions the sublimation of women's moving image making in to the generalizing category of the avant guard or experimental film and urges the specificity of the medium to be visible to an audience interested in women's film history. 

​