Sex in moving images is so often simply implied and cut away from all together, or used in a capacity that strips all the complexity away from the human connections behind it. Well the other week I attended a day school event at the National Media Museum where two films were foregrounded for similar yet different reasons. One rebukes this shunning of sexual discourse, as Steven Soderbergh’s 1989 Sex Lies and Videotape sees characters break down the social taboo on speaking frankly about their sexual experiences. The other consciously pushes sex to the opposite extreme, as Steve McQueen’s Shame shows a damaged man hiding behind a very commodified sex, with as much emotion consciously stripped from the act as possible, in order to maintain some control in his life.
Tracking through exactly what was presented wouldn’t do justice to the way the day’s speaker, Rona Murray, has put her work together, nor would it be as pleasant a read as it was a day course. I aim to simply illuminate the atmosphere and general flow of this ‘day school’.
Rona Murray is currently conducting her PhD on women’s film practice in the American film industry at De Montford University – Leicester. That, and having written the text book Studying American Independent Cinema, means that Rona is more than versed in the field. This was evident in the effortlessness with which she presented, how she was perfectly placed to answer any questions people had, could further elaborate on certain areas when requested, or how she could offer her informed opinion on pretty much anything that came up. Yet this professionalism never approached being cold and distancing, as a relaxed and inclusive atmosphere was maintained throughout the day.
The fact that the day didn’t take a very basic ‘let’s look at the work of one director’ approach to a day course – a perfectly valid idea in its own right – opting instead for drawing thematic similarities between films, is a much more interesting curatorial appproach. Taking Shame – something of the here and now; a cultural product created in the current socio-economic surroundings – and Sex Lies and Videotape – something from an important juncture in contemporary film history – led to some riveting discussion. A film that is largely accepted to have shaped – for better or for worse – the form that American independent cinema was to take from the beginning of the nineties.
During the introductory session for the first hour or so, the context was set for the original release of Sex, Lies and Videotape, as well as beginning to raise the types of themes it may be worth paying attention to during the screening with respect to similarities with/divergences from Shame. We then had an early lunch break, giving a perfect opportunity to have a pleasant chat with some of the other cinephile-attendees. After this, it was straight into the screening of Soderbergh’s seminal feature.
The session after the screening was split into two sections. Rona continued somewhat into her material, illuminating some of the industrial characteristics that led to Sex Lies and Videotape, as well as explaining how and why this event of a film went on to transform the American independent film sector into the Sundance powered machine it became. The rest of the session split the attendees into groups for everyone to discuss their views on the the film we’d just watched, and any similarities and differences with Shame.
After a healthy period of this, and more of the complementary teas, cofffees and biscuits, we all convened for everyone to have a larger discussion, informed by the mini-discussions we had just been part of. This discussion was smoothly chaired and moderated by Rona, bringing in questions and food for thought to maintain the momentum.
The cost of £19.50 (£16 for concessions) is a bargain, considering the admission to the film is included. But obviously this isn’t where the value lies. It lies in the expert knowledge brought by the experienced practitioner, and from the ability to bring so many like-minded film fans into an environment where everybody is willing to have a good in-depth chat about what is being discussed.
The next day course is tomorrow (Saturday 11th February) as Keith Withall presents a day on the late, great Ken Russell. Just as the event I attended, this will run from 10.30 until 16.30 and includes a screening of Women in Love. See here for more details.
Or see here for a full list of upcoming events and film courses at the National Media Museum.
Mike McKenny is The Culture Vulture’s film editor. If you have any film related stories, articles, reviews with a twist, etc, contact him on mike.mckenny1983@gmail.com or find him on Twitter @DestroyApathy