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The Collector/Sampler/Editor: A Feminist Perspective on the Screenwriting Process

image of The Collector/Sampler/Editor: A Feminist Perspective on the Screenwriting Process
  • By Judith Rifeser1
  • 1 Independent Researcher
  • Source: Essay Film and Narrative Techniques , pp 22-38
  • Publication Date: October 2025
  • DOI: https://doi.org/10.1386/9781835951477_4
  • Language: English
  • Accessibility Summary:  EPUB 3 and pdf file included; compatible with devices and software which can read these formats. Adjustable font size, spacing, contrast, text justification, number of columns (ePUB only). Alternative text for images. Tagged with a logical reading order to assist screen readers. Navigation between in-text citations and reference list, and endnotes and endnote markers.

This article engages with the audio-visual essay film production process through a feminist film-philosophical lens by arguing that useful parallels can be established between screen writing for the audio-visual essay film format and the novel work of the feminist philosopher Luce Irigaray. In doing so, it reveals the ethical, political and poetical potential of the screenwriting process. My central contention is that both the screenwriting process for the audio-visual essay film format and Irigaray's work share the same method of production, what I call “caressing mimetic play”. Drawing on my own experimental audio-visual essay (UK, 2019, 22:05 mins), I argue that Irigaray's concept of the caress is not only useful as a philosophical tool but also as a novel methodological tool, affording the possibility of formulating and envisioning an alternative screen- writing space, full of new potential for feminist essay film production processes.

Keywords: collecting ; editing ; Essay film ; feminist ; sampling ; screenwriting process

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The Collector/Sampler/Editor: A Feminist Perspective on the Screenwriting Process
Intellect , 22 (2025); https://doi.org/10.1386/9781835951477_4
/content/books/9781835951477.c02
/content/books/9781835951477.c02
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References

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  5. Bainbridge, Caroline (2008), A Feminine Cinematics: Luce Irigaray, Women and Film, Basingstoke: Palgrave Macmillan.
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     [Google Scholar]
  35. Kuhn, Annette ([1982] 1994), Women's Pictures: Feminism and Cinema, London: Verso.
     [Google Scholar]
  36. Lee, Kevin B. ([2016] 2017), ‘Video essay: The essay film – Some thoughts of discontent’, Sight and Sound, [18 November] 22 May, http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/video-essay-essay-film-some-thoughts. Accessed 1 November 2019.
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  47. Papazian, Elizabeth A. and Eades, Caroline (2016) (eds), The Essay Film: Dialogue/Politics/Utopia, New York and Chichester: Wallflower Press.
     [Google Scholar]
  48. Piotrowska, Agnieszka (ed.), Creative Practice Research in the Time of Neo-Liberal Hopelessness, Edinburgh: Edinburgh University Press.
     [Google Scholar]
  49. Rascaroli, Laura (2009), The Personal Camera: Subjective Cinema and the Essay Film, Wallflower Press.
     [Google Scholar]
  50. Rascaroli, Laura (2011), ‘Sonic interstices: Essayistic voiceover and spectatorial space in Robert Cambrinus's Commentary (2009)’, Media Fields Journal, 3, pp. 1–10.
     [Google Scholar]
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     [Google Scholar]
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     [Google Scholar]
  53. Rifeser, Judith (2020a), ‘From practice to praxis: Feminist “pensive-creative” praxis and the caress’, in A. Piotrowska (ed.), Creative Practice Research in the Time of Neo-Liberal Hopelessness, Edinburgh: Edinburgh University Press.38
     [Google Scholar]
  54. Rifeser, Judith (2020b), ‘Feminine desire in Claudia Llosa's The Milk of Sorrow (2009) and Shirin Neshat's Women without Men (2009) in dialogue with Irigaray's philosophy of the caress’, Comparative Cinema, VII:15, pp. 25–‒40.
     [Google Scholar]
  55. Rifeser, Judith (2021), ‘The feminine body, touch and violence: A reading of Shirin Neshat's Women without Men (Zanan-e Bedun-e Mardan, 2009) and Claudia Llosa's The Milk of Sorrow (La teta asustada, 2009)’, Free Associations: Psychoanalysis and Culture, Media, Groups, Politics, 81–82, pp. 134–48.
     [Google Scholar]
  56. Rifeser, Judith and Ros i Solé, Cristina (2021), ‘Film-making as creative praxis: Capturing the intimate side of interculturality’, Language and Intercultural Communication, 22:2, pp. 1–15.
     [Google Scholar]
  57. Russell, Catherine (2018), Archiveology: Walter Benjamin and Archival Practice, Durham, NC: Duke University Press.
     [Google Scholar]
  58. Senje, Siri (2017), ‘Formatting the imagination: A reflection screenwriting as a creative practice’, Journal of Screenwriting, 8:3, pp. 267–85.
     [Google Scholar]
  59. Sobchack, Vivian C. (1992), The Address of the Eye: A Phenomenology of Film Experience, Princeton: Princeton University Press.
     [Google Scholar]
  60. Turina, Romana (2018), ‘Screenwriting animation in the essay film: The challenges presented by silenced history’, Journal of Screenwriting, 9:3, pp. 297–316.
     [Google Scholar]
  61. Watkins, Lucy (2002), ‘Light, colour and sound in cinema’, Special Issue, Paragraph: A Journal of Modern Critical Theory, 25:3, pp. 117–28.
     [Google Scholar]
  62. Whitford, Mary ([1991] 1992), The Irigaray Reader, Oxford and London: Whiley & Blackwell.
     [Google Scholar]
  63. Witt, Mike (2017), ‘Taking stock: Two decades of teaching the history, theory, and practice of audiovisual film criticism’, NECSUS: European Journal of Media Studies, https://necsus-ejms.org/taking-stock-two-decades-of-teaching-the-history-theory-and-practice-of-audiovisual-film-criticism. Accessed 1 November 2019.
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