Ono’s manifesto on her Film No. 4 is also one of her many instructional, imaginary film scripts (although this particular one did get made). For instance, the film Rape (Yoko Ono and John Lennon, UK/Austria, 1969) differs from the conceptual script: a random woman is pursued by a cameraman through a graveyard and then through the streets of London; the film is shot as if it consists of one take, more or less. At first, the woman is coy and flirts with the camera/man. As the pursuit continues, the woman gets nervous and frustrated, taking refuge in her sister’s fl at. Unbeknownst to her, her sister has provided the film crew with a key to her fl at, allowing the crew to unlock the door and follow her in. The woman argues with the cameraman, stands in the corner, and tries calling people on the phone for help. The film ends with the woman cowering, crying, and screaming in the corner of her sister’s apartment. The film is an indictment of patriarchal scopophilia, made six years before Laura Mulvey analyzed this phenomenon in her groundbreaking manifesto “Visual Pleasure and Narrative Cinema” (reprinted later in this chapter). The description contained herein of Smile, another instructional film script, is also prescient, as the technology required to make the film came to fruition some thirty-five years later in the guise of the World Wide Web.


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