Emma Tennant  

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-'''Peter Wollen''' (b. [[29 June]] [[1938]] [[London]]) is a [[film theorist]] and writer. He studied English at [[Christchurch College]], Oxford. Both political journalist and film theorist, Wollen's ''Signs and Meaning in the Cinema'' (1969), helped to transform the discipline of film studies by incorporating the methodology of [[structuralism]] and [[semiotics]].+'''Emma Tennant''' (1937 – 2017) was a [[British novelist]] and editor. She was known for a [[postmodernism|postmodern]] approach to her fiction, which is often imbued with fantasy or [[Magic (paranormal)|magic]]. Between 1975 and 1979, she edited a literary magazine, ''[[Bananas (literary magazine)|Bananas]]'', which helped launch the careers of several young novelists.
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-==Filmography==+
-Wollen's first film credit was as co-writer of [[Michelangelo Antonioni]]'s ''[[The Passenger (film)|The Passenger]]'' (''Professione: Reporter'', Italy, 1975) and he made his debut as a director with ''Penthesilea: Queen of the Amazons'' (1974), the first of six films co-written and co-directed with his wife, [[Laura Mulvey]]. The low-budget ''Penthesilea'' portrayed women's language and mythology as silenced by patriarchal structures. Acknowledging the influence of [[Jean-Luc Godard]]'s ''[[Le Gai savoir (film)|Le Gai savoir]]'' (France, 1968), Wollen intended the film to fuse avant-garde and radically political elements. The resultant work is innovative in the context of British cinema history, although unsurprisingly its relentlessly didactic approach did not make for mass appeal.+
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-For ''Riddles of the Sphinx'' (1977), their most remarkable collaborative work, Wollen and Mulvey obtained a [[British Film Institute|BFI]] Production Board grant, which enabled them to work with greater technical resources. Rewriting the Oedipal myth from a female standpoint, they use formal devices, such as their impressively choreographed circular pans, to create an expressionist effect which complicates and enhances the film's narrative content.+
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-The deliberately ahistorical ''AMY!'' (1980), commemorating [[Amy Johnson]]'s solo flight from Britain to Australia, synthesises themes previously covered by Wollen and Mulvey. In ''Crystal Gazing'' (1982) formal experimentation is muted and narrative concerns emphasised. The film was criticised in some quarters for the absence of an explicitly feminist perspective, but it enjoyed generally favourable reviews. ''Frida Kahlo and Tina Modotti'' (1982), a short film tied to an international art exhibition curated by Wollen, and ''The Bad Sister'' (1982), a drama based on a novel by [[Emma Tennant]], were the final projects on which Wollen and Mulvey collaborated.+
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-Wollen's only solo feature, ''[[Friendship's Death]]'' (1987), was the bizarre and absorbing story of the relationship between a British war correspondent and a female extraterrestrial robot on a peace mission to Earth, who, missing her intended destination of [[Massachusetts Institute of Technology|MIT]], inadvertently lands in [[Amman, Jordan]] during the events of [[Black September in Jordan|Black September]] [[1970]]. The film's intelligent wit, coupled with outstanding performances from [[Tilda Swinton]] and [[Bill Paterson]], makes this Wollen's most compelling film.+
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-Wollen has taught film at a number of universities and is Professor Emeritus at the [[University of California, Los Angeles]].+
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-==Bibliography==+
-''Electronic Shadows—The Art of Tina Keane'', by Peter Wollen, Jean Fisher, and Richard Dyer. [[Black Dog Publishing]], 2005.+
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-''Paris / Manhattan—Writings on Art'', by Peter Wollen. [[Verso Books]], 2004.+
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-''Autopia — Cars and Culture'', Edited by Peter Wollen and Joe Kerr. Reaktion Books, 2003.+
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-''Paris Hollywood—Writings on Film'', by Peter Wollen. [[Verso Books]], 2002.+
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-''Making Time—Considering Time as a Material in Contemporary Video and Film,'' by Amy Cappellazzo, Peter Wollen, and Adriano Pedrosa. [[Distributed Art Publishers]], 2000.+
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-''Addressing the Century —100 Years of Art and Fashion'', by Peter Wollen. [[University of California Press]], 1999.+
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-''Visual Display —Culture Beyond Appearances'', Edited by [[Lynne Cooke]] and Peter Wollen. [[The New Press]], 1999.+
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-''Who is Andy Warhol?'' by Colin MacCabe, Mark Francis, and Peter Wollen. [[British Film Institute]], 1998.+
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-''Scene of the Crime'', edited by Ralph Rugoff, by Anthony Vidler, and Peter Wollen. [[MIT Press]] 1997.+
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-''Signs and Meaning in the Cinema'', by Peter Wollen, expanded and revised edition. London: [[British Film Institute]], 1998.+
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-''Singin' in the Rain'', by Peter Wollen. [[British Film Institute]] 1993.+
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-''Signs and Meaning in the Cinema'', by Peter Wollen. London: [[Secker and Warburg]], 1969-1972.+
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-==Interviews==+
-Field, Simon, "Two Weeks on Another Planet", ''Monthly Film Bulletin'' 646, 1987, pp. 324-6+
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-Friedman, Lester D., "Interview with Peter Wollen and Laura Mulvey on Riddles of the Sphinx", ''Millennium Film Journal'' 4/5, 1979, pp. 14-32+
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-Mulvey, Laura and Wollen, Peter, "Written Discussion", ''After Image'', July 1976, pp. 31-9+
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Emma Tennant (1937 – 2017) was a British novelist and editor. She was known for a postmodern approach to her fiction, which is often imbued with fantasy or magic. Between 1975 and 1979, she edited a literary magazine, Bananas, which helped launch the careers of several young novelists.

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