Abstract
Abstract This paper picks up one of the threads of my book, Archiveology: Walter Benjamin and Archival Film Practices, in which I define archiveology as a practice of collecting images and compiling them in new and surprising ways. Performed by artists and independent filmmakers, working in a variety of audiovisual media, archiveology is an essayistic form, insofar as filmmakers are taking up previously used material as the basis of a film language. This paper explores the implications of archiveology for a feminist film practice, using the example of The Three Disappearances of Soad Hosni (Rania Stephan, 2011). With reference to recent feminist theory concerning the film archive, I argue that the metaphor of “awakening” becomes legible as a formal technique of archiveology most clearly in the case of the gendered archive.
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