'Sexuality is the least private zone of experience - the use of intercuts of advertising imagery, one of the means by which ideas of sexual power are transmitted, will confirm this. Classical cinema is founded on the displacement of the voyeuristic impulse, viz, the analysis of filmic pleasure in the movement of the cinematic chain of signification, the eroticism of cinema. But there are few films that actually engage with voyeurism (say more explicitly than Hitchcock), films by Michael Powell, Oshima Nagisa, Ron Lane, Andy Warhol, Steve Dwoskin... This is difficult work, and the interrogation of it in this film has a serious and significant relation to feminism and feminist theory... The look in and at the cinema - the construction of masculine discourse within the power of the images, montages, codes of editing, sound, lighting, focus (the film ranges over, deploys, cinematic representations, their inscriptions cutting across/constructing the surface of the film) - what is narrated and to whom narrative/ narration: inside out.' - Al Rees, programme notes: "New British Avant Garde Films", Edinburgh Film Festival 1978.
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