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Hannah Mandel


Screen to Table is an experiment into the relationship of film and spectator theory and practices surrounding the preparation, serving and consuming of food. The project is equally inspired by Austrian filmmaker Peter Kubelka’s opinion that food and cinema are intrinsically tied, feminist film theorist Laura Mulvey’s writings about the male gaze in cinema, and notions surrounding the practice of exaggerated femininity (mimicry) as a form of protest.


For two screenings I acted as the hostess, dressing in a custommade apron, black dress, garters and high heeled shoes. I prepared, from scratch, an abundance of food and drink for an invited group of friends and peers. This publication serves as documentation of the first two Screen to Table events. “Sedmikrásky (Daisies), (1966, Věra Chytilová) was screened on March 23, 2012 at the Copycat Penthouse, in Baltimore, Maryland. “Mulholland Drive” (2001, David Lynch) was screened on April 7, 2012, at the Autograph Playhouse, also in Baltimore.


MENU

- Potato and Onion Pierogies - Beet Bread - Bread and Butter Pickles - Rhubarb Chutney - Pretzel-Wrapped Sausages - Rainbow Layer Cake - Apple Bread Pudding - Grapefruit Poppyseed Cupcakes with Strawberry Rhubarb Filling and White Chocolate Frosting - Sherbert Punch - Champagne - Wine


Everybody who makes films should also cook. Cooking is performing art, and a meal is the ancestral sculpture


of mankind. Cooking is the origin of culture, as the mother of all arts. Food, exactly like popular art, constitutes a means of communication. Prepared food is a medium to express thoughts and feelings. -Kubelka, “The Edible Metaphor�


The satisfaction and reinforcement of the ego that represents the high point of film history hitherto must be attacked.


Not in favour of a reconstructed new pleasure, which cannot exist in the abstract, nor of intellectualised unpleasure,


but to make way for a total negation of the ease and plenitude of the narrative fiction film. The alternative is the thrill that comes from leaving the past


behind without rejecting it, transcending outworn or oppressive forms, or daring to break with normal pleasurable expectations in order to conceive a new language of desire. -Mulvey, from “Visual Pleasure and Narrative Cinema


MENU -Vegetable Chili -Stufffed Peppers -Breakfast Pizza -Los Angeles Style Pizza -Bread Salad -Cornbread -Red Wine Chocolate Cake -Pina Colada Cake -Mocha Bundt Cake with Dark Chocolate Glaze -Root Beer Float Cupcakes -Coca Cola Tres Leches Cake -Blackberry Peach Pie -Jalapeno- Cucumber Margaritas -Horchata


More than other senses, the eye objectifies and masters. it sets at a distance, maintains the distance. in our culture, the predominance of the look over smell, taste, touch, hearing, has brought about an improverishment of bodily relations...


the moment dominates the look dominates, the body loses its materiality. -Irigaray, from “The Indignity of Speaking�


Fantasies in film are tailored to address ‘reality’ in the sense of Lacan’s symbolic, a domain of prohibition, and in the sense


of ‘reality- testing’ actualized social relations. -Cowie, from “Fantasia”



Screen to Table