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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-11593\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/peterwollen.png\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-11593-45U99oLY6tk\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/peterwollen.png?itok=ijfhcslS\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EPeter Wollen\u003C\/strong\u003E (b. 29 June 1938 London) is a film theorist and writer. He studied English at Christ Church, Oxford. Both political journalist and film theorist, Wollen\u0027s \u003Cem\u003ESigns and Meaning in the Cinema\u003C\/em\u003E (1969), helped to transform the discipline of film studies by incorporating the methodology of structuralism and semiotics.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EFilm career\u003C\/strong\u003E Wollen\u0027s first film credit was as co-writer of Michelangelo Antonioni\u0027s \u003Cem\u003EThe Passenger\u003C\/em\u003E (\u003Cem\u003EProfessione: Reporter\u003C\/em\u003E, Italy, 1975) and he made his debut as a director with \u003Cem\u003EPenthesilea: Queen of the Amazons\u003C\/em\u003E (1974), the first of six films co-written and co-directed with his wife, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Laura_Mulvey\/\u0022\u003ELaura Mulvey\u003C\/a\u003E. The low-budget \u003Cem\u003EPenthesilea\u003C\/em\u003E portrayed women\u0027s language and mythology as silenced by patriarchal structures. Acknowledging the influence of Jean-Luc Godard\u0027s \u003Cem\u003ELe Gai savoir\u003C\/em\u003E (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.\u003C\/p\u003E\n\u003Cp\u003EFor \u003Cem\u003ERiddles of the Sphinx\u003C\/em\u003E (1977), their most remarkable collaborative work, Wollen and Mulvey obtained a British Film Institute 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\u0027s narrative content.\u003C\/p\u003E\n\u003Cp\u003EThe deliberately ahistorical \u003Cem\u003EAMY!\u003C\/em\u003E (1980), commemorating Amy Johnson\u0027s solo flight from Britain to Australia, synthesises themes previously covered by Wollen and Mulvey. In \u003Cem\u003ECrystal Gazing\u003C\/em\u003E (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. \u003Cem\u003EFrida Kahlo and Tina Modotti\u003C\/em\u003E (1982), a short film tied to an international art exhibition curated by Wollen, and \u003Cem\u003EThe Bad Sister\u003C\/em\u003E (1982), a drama based on a novel by Emma Tennant, were the final projects on which Wollen and Mulvey collaborated.\u003C\/p\u003E\n\u003Cp\u003EWollen\u0027s only solo feature, \u003Cem\u003EFriendship\u0027s Death\u003C\/em\u003E (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 MIT, inadvertently lands in Amman, Jordan during the events of Black September 1970. The film\u0027s intelligent wit, coupled with outstanding performances from Tilda Swinton and Bill Paterson, makes this Wollen\u0027s most compelling film.\u003C\/p\u003E\n\u003Cp\u003EWollen has taught film at a number of universities and is Professor Emeritus at the University of California, Los Angeles.\u003C\/p\u003E\n\u003Cp\u003E\u00a0\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EUnited Kingdom\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}