ABSTRACT
Especially in those “deconstructive” films influenced by Godard and Straub/Huillet there is a ruse that the traditional patriarchal male subject is somehow avoided, submerged within the practice of the work. Yet these film “texts” have reaffirmed the central ideological male subject. For the epigones this was, through various mechanistically applied devices, meant to occur. A more acceptable “reconstruction” to follow. (In Britain such films were financed by the British Film Institute, 1976 to 1986.) A retrogressive decade of production thus in that part of the Independent Film Sector. They have thankfully been forgotten by history rather quickly.
