Chiffons (90's)
The chiffons function as a screen and as an ultra-feminine signifier. They play with the concept of the veil, but rather than acting as a concealing and masking tease that connects with the stereotypes of feminine duplicity and deception associated with veiling, these chiffons can easily be seen through, walked around and viewed from the other side. There is nothing to hide. There are no secrets, only the project of re-scripting the story and re-presenting the subject.
Re-scripting the film's message and presenting my own storyboard is a work in progress. My fiction for the shooters is: now that they are released from the original Hollywood script they are free to stage and star in their own life/movie, in collaboration with the viewer.
In these works the shooter takes aim, directing her gaze at an unseen object. As she looks down the barrel of her gun there is no debate about who is in charge of the gaze. Analogous to whomever is in possession of the camera, she directs the gaze, creates the tension, selects the subject and proceeds to inscribe her interpretation of events on the film. The accuracy and steadiness of the shooters determines who gets the best shot. The gun and the camera are seen here as equalizers.
Historically these films fall into the following genres: western, film noire, gun moll/gangster, revolutionary, sexploitation, blaxploitation, adventure and sci-fi/utopia films. Contemporarily the new genres are: female buddy/liberation, uncontrollable women who range from terrorist to psychos, super powerful heroines and very bad girl films. The dramatic changes in how these women have been depicted in films over the years reflect the political climate, cultural shifts and the anxieties of each decade.
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