Elisabeth Subrin

Presentation - Elisabeth Subrin is a screenwriter, filmmaker and visual artist, and Associate Professor of Film and Media Arts in the School of Theater, Film and Media Arts at Temple University. Previously at Harvard, Yale and Amherst, Subrin has received grants and fellowships from The Rockefeller Foundation, The Guggenheim Foundation, The Annenberg Foundation, Creative Capital, and The Westenberger Foundaton. She was a fellow at The Sundance Institute’s Feature Filmmaker and Screenwriter Labs. Her films have been written about extensively in The New York Times, Artforum, The New Yorker, Art Journal, Frieze, BOMB, The LA Weekly, The San Francisco Bay Guardian, The Village Voice and The Boston Globe and has been the subject of academic book chapters, essays, and panels. Subrin is the creator of the feminist film blog, Who Cares About Actresses, and lectures frequently on film, feminism and independent cinema. Her critically acclaimed film « A Woman, A Part, » was theatrically released in 2017, and acquired by Netflix and Showtime. Subrin creates conceptually driven projects in film, video, photography and installation. Working across experimental and narrative forms, her projects seek intersections between history and subjectivity, investigating the nature and poetics of psychological "disorder," the legacy of feminism, and the impact of recent social and political history on contemporary life and consciousness. She is currently conducting archival research and field interviews for an speculative biographical film about the late French actress Maria Schneider

 

Elisabeth Subrin is currently Fulbright - CY Initative visiting scholar at ENSAPC and a fellow of CY Advanced Studies

 

Research project

As a Fulbright Research Scholar, Subrin will continue and extend her research on the late French actress Maria Schneider (1952-2011), best known for her provocative and problematic role in the renown Italian director Bernardo Bertolucci’s controversial film, Last Tango In Paris (1971). Sexually exploited on the set of the film, Schneider allegedly never fully escaped its grip on her career and personal life. Nevertheless, Schneider remained an outspoken critic of the lim- ited opportunities available for actresses and her prescient observations about the abuse of women in the film industry anticipated the #metoo movement by decades. Drawing from primary source materials, archival research, in person interviews, and the development of new visual and textual strategies, Subrin’s research will culminate in a speculative cinematic portrait of this complex woman which will examine the politics and poetics of contemporary biographical forms, the historical treatment of women in cinema, and the impact of trauma in shaping identity.