Stabat Mater, 1990

“Stabat Mater opens and closes with two sung laments, then launches into a breathless torrent of words and phrases, a re-reading of the eternal feminine of Joyce’s Ulysses, which echoes the exultant/feverish swoop of the camera through a Mediterranean landscape”  Jo Comino, A Directory of British Film and Video Artists ed. David Curtis, 1996

Filmed, edited and spoken: Nina Danino
Singer: Elena Danino
Dubbing Mixer: Andrew Sears
16mm Optical Printing: Nick Collins
Post Production: London Filmmakers’ Co-op
Produced by Nina Danino
Financial assistance from the Arts Council of Great Britain

1990 Premiere: 34th London Film Festival.

Published in Rupture/Rapture/Jouissance – The Religious Trilogy 1990-1997 LUX (DVD) 2018

“…and the figtrees in the Alameda gardens”,  The Garrison Library, Gibraltar, 2013 [installation]
Films de Nina Danino, Centro de Arte Contemporaneo (CAC), Malaga, Spain 2 December 2012
Maya Deren in Context -British Women’s Filmmaking , Maya Deren 50 Years, Southbank NFT, London 2011.
Retrospective: The Subjective Camera, Greenwich Picturehouse, London, 2007
All that is Solid Melts into Air: 30 Years of the LFMC and the British Avant Garde, Pandaemonium, ICA, London, 1996
Eat Carpet, SBS-TV, Australia 1995
Imaging the Female, Experimental Women, Birkbeck College, University of London 1993
Driving the Loop: New British Filmmakers, Tate Britain, London 19 September l992
International Avant-Garde, National Film Theatre, London 16 April 1991
New British Work, Pleasure Dome, Toronto, Canada. 1991

‘Stabat Mater – Film,the Feminine and the Sacred Pp150-157, The Sacred and the Feminine: Image, Music, Text, Space, Griselda Pollock and Victoria Sauron, eds., London I.B. Taurus, 2008 ISBN (HB) 978 1 84511 520 3, ISBN (PB) 978 1 84511 521 0
Jean Matthee, “On Wounds, Artificial Flowers, Orifices and the Infinite: A Response to the Films of Nina Danino”, Undercut, no. 20 1990. Reprinted in The Undercut Reader, Columbia University Press 2002