Laura Mulvey

Investigates the politics of cinematic shot design, and how this meta-level of filmmaking intersects with the twin epidemics of sexual abuse/assault and employment discrimination against women, with over 80 movie clips from 1896 - 2020.

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Jane is the illegitimate daughter of a Scottish landowner. She is disowned and expelled from his estates, but although she settles down to a new life in London, she is still haunted by the memory of her childhood and her mother's mysterious death. In a trance, she sets out on dreamlike journeys in search of freedom and revenge.

Experimental drama set in London during the Thatcher administration involving four characters: Neil, a science-fiction illustrator; Kim, a woman rock musician; Vermilion, an analyst of satellite photography; and Julian, an old friend of the illustrator who has just finished his Ph.D thesis on the fairy-tales of Charles Perrault. Their four lives are closely interlinked as events happen to each of them.

Penthesilea, the first of six films made by Laura Mulvey and Peter Wollen, traverses thousands of years to look at the image of the Amazonian woman in myth. It asks, among other questions, is the Amazonian woman a rare strong female image or is she a figure derived from male phantasy? The film explores the complexities of such questions, but does not seek any concrete answers.

Home movies shot on Super 8mm by W+B Hein over 10 years.

A series of interviews about the film Peeping Tom (1960). It includes a rare interview with Karlheinz Böhm talking about his role and its subsequent effect on him.

An analysis of the work of Belgian filmmaker Chantal Akerman (1950-2015), an experimental and innovative artist, both in content and form, who has left her mark on cultural memory and on the creations of other artists.

A exploration of the origin, theory, philosophy and themes of Stephen Dwoskin's films from 1963 to 1984.

Inspired by Virginia Woolf, a young writer worries that marriage will hinder her literary ambitions. The film includes extracts from Virginia Woolf's novel To the Lighthouse and her essay Professions for Women, both read by feminist filmmaker and theorist Laura Mulvey.

An unconventional portrait of painter Frida Kahlo and photographer Tina Modotti. Simple in style but complex in its analysis, it explores the divergent themes and styles of two contemporary and radical women artists working in the upheaval of the aftermath of the Mexican Revolution.

In this avant-garde classic, protagonist Louise deals with a change in her lifestyle in which she must learn to negotiate domestic life and motherhood.

A white bisexual female vampire, trapped in a relationship with a misogynistic male vampire, encounters a worldly black lesbian who helps her achieve enlightenment.

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?

Filmmakers Laura Mulvey and Mark Lewis use rare archival footage and interviews with artists, art historians, and museum directors to examine the fate of Soviet-era monuments during successive political regimes, from the Russian Revolution through the collapse of communism. Mulvey and Lewis highlight both the social relevance of these relics and the cyclical nature of history. Broadcast on Channel Four as part of the 'Global Image' series (1992-1994).

Sex sells. What sells even more? Insecurity. Multi-billion dollar industries saturate our lives with images of unattainable beauty, exporting body hatred from New York to Beirut to Tokyo. Their target? Women, and increasingly men and children. "The Illusionists" turns the mirror on media, exposing the absurd, sometimes humorous, and shocking images that seek to enslave us.

Avant-garde appeal on behalf of and made by the adventurous leftist London cinema, The Other Cinema, using the facilities provided by the BBC community programme unit.

Amy Johnson was the first woman to fly solo from Great Britain to Australia. Mulvey and Wollen’s experimental documentary combines newsreel footage of the aviator’s arrival, dramatic recreations of events from her life and contemporary discussions by feminist groups on the subject of heroism in this most unconventional biopic.

23 August 2008 consists of two shots. A brief opening shot, intercut with inter-titles, of the famous Al-Mutanabbi Street book market in Baghdad is followed by an unbroken eighteen-minute monologue, shot from a single, still camera position and simply recording the speaker’s words without interruption. In it, Faysal Abudullah gradually builds a portrait of his relationship with his younger brother, Kamel, and in the process evokes the lives of Iraqi intellectuals of the left, driven into exile in the early 1980s by Saddam Hussein’s regime. Faysal describes Kamel’s decision to return to Iraq in 2003, his work for the new Ministry of Culture and his tragic death at the hands of unknown assassins on 23 August 2008. While the film throws light on little known aspects of Iraq’s political history, primarily it is the story of the two brothers, of Faysal’s devotion to Kamel and their contrasting attitudes to exile and to life itself.

Retiring [in]Transition founding co-editor Catherine Grant reflects on her curation of Laura Mulvey’s remix of a sequence from Gentlemen Prefer Blondes (1953) in the opening editorial of our journal’s inaugural issue in 2014. Here she presents a new videographic study of this remix that she made in collaboration with Mulvey herself in 2024.