{"id":22202,"date":"2021-07-09T09:42:02","date_gmt":"2021-07-09T08:42:02","guid":{"rendered":"https:\/\/research.reading.ac.uk\/research-blog\/?post_type=tribe_events&p=22202"},"modified":"2021-07-09T09:42:02","modified_gmt":"2021-07-09T08:42:02","slug":"dwoskin-disability-and-autobiography-trying-to-kiss-the-moon","status":"publish","type":"tribe_events","link":"https:\/\/research.reading.ac.uk\/research-blog\/event\/dwoskin-disability-and-autobiography-trying-to-kiss-the-moon\/","title":{"rendered":"Dwoskin, Disability and\u2026 Autobiography: Trying to Kiss the Moon"},"content":{"rendered":"

This is the the third in a series of screening and discussion events exploring the experimental filmmaker Stephen Dwoskin\u2019s complex relationships with disability and creativity, memory and materiality. This event is co-hosted by the LUX and the\u00a0Centre for Film Aesthetics and Cultures\u00a0(CFAC)<\/a> and supported by the Arts Committee and the Diversity and\u00a0Inclusion Initiatives Fund of the University of Reading.<\/p>\n

While feminist critics often associated Dwoskin\u2019s films with the male gaze, he was equally prepared to turn the camera on himself. He conceived of\u00a0TRYING TO KISS THE MOON<\/b><\/a>\u00a0(1994) as an autobiographical film, after seeing a cache of his father\u2019s home movies, shot during his childhood in New York, many of them showing him before he contracted polio and lost the use of his legs. These inspired reflections on, among other themes, disability and diaspora.<\/p>\n

And yet the finished film is far from straightforwardly autobiographical. As Laura Mulvey has written,\u00a0TRYING TO KISS THE MOON<\/b>\u00a0\u201ctells the double story of memory, bringing together the beauty of its documents and the sadness of its elusiveness\u201d. Seemingly objective documents \u2013 both his father\u2019s and his own home movies and still photographs \u2013 do not speak for themselves, even to those who were there at the time.<\/p>\n

Instead,\u00a0TRYING TO KISS THE MOON<\/b>\u00a0is a kind of bricolage that never smoothly integrates its constitutive parts. The documents are material objects, imperfect, incomplete, and made to seem so through Dwoskin\u2019s painterly technique. Finished on the cusp of the digital era, it can be seen as a farewell to analogue formats. It won praise from Raymond Bellour, and Nicole Brenez saw in the home movies \u201cmagical moments\u201d presaging the rest of Dwoskin\u2019s career: \u201ceverything is already there!\u201d<\/p>\n

The event will begin with an introduction and communal viewing at 7pm on Thursday 22 July, followed by a discussion with\u00a0Jenny Chamarette\u00a0<\/b>(author of\u00a0Phenomenology and the Future of Film<\/i>),\u00a0Rachel Garfield\u00a0<\/b>(author of\u00a0Experimental Filmmaking and Punk<\/i>), and\u00a0Henry K. Miller<\/b>\u00a0(editor of\u00a0The Essential Raymond Durgnat<\/i>) from the\u00a0AHRC-funded project, \u2018The Legacies of Stephen Dwoskin\u2019s Personal Cinema\u2019, led by Rachel Garfield.<\/span><\/p>\n

TRYING TO KISS THE MOON<\/b>\u00a0has closed captions, and the live discussion will be BSL interpreted and live captioned. The\u00a0discussion will last no longer than 60 minutes.<\/p>\n

Book online here<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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