A Midland Book MB 587 Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/indiscretionsavaOOOOmell INDISCRETIONS Indiscretions: Avant-Garde Film, Video, & Feminism is Volume 12 in the series THEORIES OF CONTEMPORARY CULTURE Center for Twentieth Century Studies University of Wisconsin-Milwaukee General Editor, KATHLEEN WOODWARD II Jt Patricia Mellencamp INDISCRETIONS AVANT-GARDE FILM, VIDEO, & FEMINISM INDIANA UNIVERSITY PRESS Bloomington and Indianapolis V V'\} ^ “Video Politics" was published in Discourse 10, no. 2 (Spring-Summer 1988); another version appeared in Global Television, edited by Cynthia Schneider and Brian Wallis (New York: Wedge Press, 1988). “Postmodern TV" appeared in Afterimage 13, no. 5 (December 1985). "Uncanny Feminism" was in Afterimage 14, no. 4 (September 1986) and Framework (November 1986). "Images of Language and Indiscreet Dialogues" was in Screen 28, no. 2 (Spring 1987). A long version of "Last Scene in the Streets of Modernism" was published in Fast-West Film journal 3, no. 1 (December 1988). © 1990 by Patricia Mellencamp All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. @™ Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Mellencamp, Patricia Indiscretions : avant-garde film, video & feminism / Patricia Mellencamp. p. cm. Includes bibliographical references (p. ). ISBN 0—253—33743—7 (alk. paper).—ISBN 0—253—20587—5 (pbk. : alk. paper) 1. Experimental films—History and criticism. 2. Feminism and motion pictures. I. Title. PN1995.9.E96M45 1990 791.43'0973'09047—dc20 89-45804 1 2 3 4 5 94 93 92 91 90 CIP GRATITUDE My friends and colleagues who have shared their knowledge, eccentricities, and friendship with me populate this book. Of my Milwaukee connections, particularly Stephen Heath, in various seminars from the late 1970s to early 1980s, has deeply influenced my thoughts about Hollywood film (whose his¬ tory I teach, along with other national cinemas, in my everyday life) while Teresa de Lauretis, during her lengthy tenure in Milwaukee, existed as a fem¬ inist friend of stylish inventiveness and intellectual rigor. My colleagues in the Film Department, Bob Nelson, Dick Blau, and Rob Danielson, share my great respect for these films. My friends in the Modern Studies program, Her¬ bert Blau and Kathleen Woodward, share my fascination with artists. Patrice Petro shares my love of cinema. Meaghan Morris is, pedagogically speaking, all of the above. To Rob and Dae Mellencamp, extraordinary human beings, who sup¬ ported me into writing a book and then left for college, and who live in fear of my sentimentality and weepy declarations of respect and love; to Peg and Bob Jewson, who gave me a happy history which included strong, working women and constant support, and who funded and upscaled my daily life; to Nancy Mooney, the best of all sisters, who shared my past and advises my present; to Marge and the women of New Day, love and gratitude. This book is dedicated to you, and to my sidekicks, B.P. and Baggins.