Experimental cinema, as well as experimental video practices, have always been art forms widely explored by women. Yet, while the field of cinema studies has devoted research — although only recently — to women involved in narrative and commercial films, as directors, actresses, screenwriters and in other roles of cinema industry, the history of women’s experimental audio-visual production is still little explored and would benefit from being retraced and framed in a wider historical and theoretical perspective. This special issue of Cinéma&Cie is therefore aimed at tracing women’s experimental practices at the intersection of cinema and the arts by intertwining a theoretical and historical approach through the analysis of cases studies from the mid-century up to the present time.

 Sarah Keller, Elena Marcheschi and Giulia Simi, The Experimental Women: An Introduction

Rebecca A. Sheehan, ‘Give me a body then…’: (In)corporated Thinking in the Cinema of Menken, Deren, and Arledge

Shana MacDonald, The Aesthetic Lives of Performers: Rethinking Intermediality in the Films of Yvonne Rainer and Carolee Schneemann

Oksana Chefranova, After Nature: The Expanded Landscapes of Ana Mendieta and Ana Vaz

Ivelise Perniola, Marguerite Duras, Experimental Filmmaker Between Antinarration and Iconoclasm

John Powers, Rediscovering Caroline Avery: Submerged Narrative, Affect and the Legacy of Minor Cinema

Anita Trivelli, Gazes Upon the World of Italian Contemporary Women Filmmakers

Polina Golovátina-Mora, Bridget Sheridan and Ana María López Carmona, 

On Visual Walking-Remembering Warmipura − Among Women


Lydia Tuan, Screening Screens: Cinematic Spectatorship in the Desktop Film Noah