Abstract
ABSTRACT This paper considers how women filmmakers are using installation in gallery spaces to find alternative ways of telling feminist stories. Focusing on the exhibition “Astro Noise” by Laura Poitras, best known for her documentaries on Edward Snowden and Julian Assange, the paper considers how technology and surveillance operate in Poitras’ exhibition to produce a form of “drone feminism” that visualises spectatorial engagement and embodiment in the digital age. Might a form of drone feminism applied to migrations from cinema to installation spaces enable us to consider spectatorial interactivity as a kind of looping or entanglement within practices of feminist storytelling?
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