Abstract

This manifesto by Yvonne Rainer is more tentative in its conclusions than most but also acts as a celebration of the manifesto form itself. Echoing the polyvocality of her films—such as The Man Who Envied Women (USA, 1974), A Film about a Woman Who . . . (USA, 1985), and Privilege (USA, 1990)—Rainer outlines a series of thematic, aesthetic, and theoretical oppositions that pervade feminist filmmaking, arguing for the compelling need for all these contradictions to flourish in feminist works. She then examines her own process of continuously undercutting easy binaries in her own work.

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