The independent British film journal Afterimage published thirteen issues between 1970 and 1987. International in scope, it surveyed the many forms of radical cinema during an extraordinary period of film history. Having emerged in the wake of post-1968 cultural and political change, Afterimage charted contemporary developments with special issues on themes such as the avant-garde, Latin American cinema and visionary animation, and also looked back at early film pioneers.

This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle—a way of not only picturing the world but remaking it.

The very first collection celebrating her work, Exovede in the Darkroom is a series of responses, critical and poetic, to Métis experimental filmmaker Rhayne Vermette’s visually explosive and materially intimate practice. It was while studying architecture that Vermette, primarily self-taught, fell into image making and storytelling. Her films are opulent collages of fiction, animation, documentary, reenactments, and divine interruption.