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Recording the Work of a World: Anne ...

Gouws, Anjo-mari.

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Recording the Work of a World: Anne Charlotte Robertson's Diary Film and the Domestication of Cinema.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Recording the Work of a World: Anne Charlotte Robertson's Diary Film and the Domestication of Cinema./
Author:	Gouws, Anjo-mari.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	263 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-01, Section: A.
Contained By:	Dissertations Abstracts International82-01A.
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27667401
ISBN:	9798662389656

Recording the Work of a World: Anne Charlotte Robertson's Diary Film and the Domestication of Cinema.
Gouws, Anjo-mari.

Recording the Work of a World: Anne Charlotte Robertson's Diary Film and the Domestication of Cinema. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 263 p.

Source: Dissertations Abstracts International, Volume: 82-01, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2020.

This item must not be sold to any third party vendors.

Anne Charlotte Robertson's Five Year Diary is a multi-modal project that comprises cinematic, written, audio and food diaries that span forty years of the artist's life. Robertson would come to understand the work in different ways: as a weight loss diary; as a "trousseau" for her "one true love", to present to him when they meet; and, in periods of psychic breakdown, as a film that would encompass the history of the entire world. This dissertation takes up these three ways of framing the project to describe and make sense of Five Year Diary. In doing so it positions Robertson more prominently in terms of two scholarly histories: the history of feminist art in the United States, and the history of experimental film, particularly in the form of personal or diary filmmaking. When Robertson begins her multi-modal Five Year Diary in 1981, she is doing so at the tail-end of the women's liberation movements that coursed through the United States in the 1960s and 1970s. The diary project takes up many of the concerns of second wave feminism, including gendered labour, women's time, and feminist desire. Robertson thus uses the diary, which historically has often been one of the only forms easily accessible to women, for the project of feminist world-making that Five Year Diary engages in. Her intervention here lies on two fronts. First, as an artist that makes of the most extensive and conceptually rich use of the diary within feminist art and filmmaking; and second, in her veneration of domesticity and heterosexual marriage, as forming part of an alternative history of second-wave feminism. It is Robertson's treatment of the domestic that forms one axis of her intervention in the history of experimental film: by collapsing the labour of the home and the labour of the filmmaker, hers is, I argue, the true "domestication of cinema" that David E James attributes to Stan Brakhage. The second axis relates to form and how the diary film has traditionally been sketched in experimental scholarship, as fragmented, often formless, an assertion Robertson's rigorous formalism and carefully pieced together aesthetic vision undermines.

ISBN: 9798662389656Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Anne Charlotte Robertson

Recording the Work of a World: Anne Charlotte Robertson's Diary Film and the Domestication of Cinema.
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520 $a Anne Charlotte Robertson's Five Year Diary is a multi-modal project that comprises cinematic, written, audio and food diaries that span forty years of the artist's life. Robertson would come to understand the work in different ways: as a weight loss diary; as a "trousseau" for her "one true love", to present to him when they meet; and, in periods of psychic breakdown, as a film that would encompass the history of the entire world. This dissertation takes up these three ways of framing the project to describe and make sense of Five Year Diary. In doing so it positions Robertson more prominently in terms of two scholarly histories: the history of feminist art in the United States, and the history of experimental film, particularly in the form of personal or diary filmmaking. When Robertson begins her multi-modal Five Year Diary in 1981, she is doing so at the tail-end of the women's liberation movements that coursed through the United States in the 1960s and 1970s. The diary project takes up many of the concerns of second wave feminism, including gendered labour, women's time, and feminist desire. Robertson thus uses the diary, which historically has often been one of the only forms easily accessible to women, for the project of feminist world-making that Five Year Diary engages in. Her intervention here lies on two fronts. First, as an artist that makes of the most extensive and conceptually rich use of the diary within feminist art and filmmaking; and second, in her veneration of domesticity and heterosexual marriage, as forming part of an alternative history of second-wave feminism. It is Robertson's treatment of the domestic that forms one axis of her intervention in the history of experimental film: by collapsing the labour of the home and the labour of the filmmaker, hers is, I argue, the true "domestication of cinema" that David E James attributes to Stan Brakhage. The second axis relates to form and how the diary film has traditionally been sketched in experimental scholarship, as fragmented, often formless, an assertion Robertson's rigorous formalism and carefully pieced together aesthetic vision undermines.
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