After the Facts – These Edits Are My Thoughts

Pearlman, Karen; Gaines, Jane

Film industries have, historically, poor records of opportunities and recognition of women. This lack of gender parity in screen industries is paralleled in the lack of studies of women filmmakers. There is, compared to the resources available on men, little written about the ways that women filmmakers have been influential on film form, and the ways their work informs film theory. For example, there are numerous books in English on male filmmakers of the Soviet Montage period Sergei Eisenstein and Dziga Vertov, but none to date on their colleague, teacher, and mentor, the highly innovative woman filmmaker, Esfir Shub.

Wright (2009) proposes that a corrective to the analytic frameworks that efface women would be a “paradigm shift away from authorship and textual analysis and a move toward analysing industry practices and cultures of film and media production” (10). This video essay, After the Facts, aims to instantiate that shift.

The underlying research project of After the Facts is inquiring into creative practice, distributed cognition, and feminist film histories. The research methodology involves both embodied creative practice and analysis of cognitive actions occurring in practices. These analyses demonstrate that filmmaking creativity is an instance of distributed cognition (see Pearlman 2018; Pearlman, MacKay and Sutton 2018).


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More About This Work

Academic Units
Women Film Pioneers Project
Published Here
July 28, 2021