{"product_id":"the-machine-that-kills-bad-people-notes-from-a-film-club","title":"The Machine That Kills Bad People: Notes from a Film Club","description":"\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEdited by Erika Balsom, Beatrice Gibson, María Palacios Cruz and Ben Rivers\u003cbr\u003eThe Visible Press, June 2026\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Machine That Kills Bad People\u003c\/em\u003e is an engaging and expansive collection of thirty-nine essays commissioned by the bi-monthly screening series at the Institute of Contemporary Arts, London, programmed by Erika Balsom, Beatrice Gibson, María Palacios Cruz and Ben Rivers from 2018 to 2026.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Machine That Kills Bad People\u003c\/em\u003e is, of course, the cinema itself – a medium that is so often and so visibly in service of a crushing status quo but which, in the right hands, is a fatal instrument of beauty, contestation, wonder, politics, poetry, new visions, testimonies, histories, dreams. It is also a film club devoted to showing work – ‘mainstream’ and experimental, known and unknown, historical and contemporary – that takes up this task.\u003c\/p\u003e\n\u003cp\u003eThe film club’s otherwise promiscuous programming was governed by a single rule that has remained undisclosed until now: only female filmmakers would be shown. As a result, this book offers an idiosyncratic journey through more than a century of women’s cinema, imagining new historical narratives and compelling its readers to question the status quo.\u003c\/p\u003e\n\u003cp\u003eSteven Cairns – Foreword\u003cbr\u003eEditor’s Notes\u003cbr\u003eElena Gorfinkel – Wanda, Loden, Lodestone\u003cbr\u003eMay Adadol Ingawanij – Follow the Sparrows: Anocha Suwichakornpong’s Mundane History\u003cbr\u003eLeo Goldsmith – Flightpaths: Mati Diop’s Big in Vietnam\u003cbr\u003eLaura Staab – Writing in Snow\u003cbr\u003eGenevieve Yue – Movie Crush: Chick Strand’s Cartoon Le Mousse\u003cbr\u003eLucy Reynolds – “Being useful is a form of willing slavery …”\u003cbr\u003eAra Osterweil – Martina’s Playhouse and the Queer Space of Girlhood\u003cbr\u003eErika Balsom – Atlases of America: Babette Mangolte’s The Sky on Location and Deborah Stratman’s O’er the Land\u003cbr\u003eSara Saljoughi – You, Name a Few Beautiful Things: Forough Farrokhzad’s The House is Black\u003cbr\u003eDaniella Shreir – Negotiating Intimacy on the Los Angeles Bus Network: Alexandra Cuesta’s Piensa en mí\u003cbr\u003eKit Duckworth – A Room of Their Own: Claudia Weill’s Girlfriends\u003cbr\u003eTendai Mutambu – A Stir in the Crucible: Alanis Obomsawin’s Incident at Restigouche\u003cbr\u003eAndréa Picard – Everyday Epiphanies: Alice Rohrwacher’s Corpo celeste\u003cbr\u003eXiaolu Guo – Nudity is the Absence of the Hidden: On Trinh T. Minh-ha’s Reassemblage\u003cbr\u003eEileen Myles – Women Screaming\u003cbr\u003eGeorge Clark – Casual Encounters: The Untroubled Mind and Nervous Translation\u003cbr\u003eJanique Vigier – Looking Back\u003cbr\u003eTeresa Castro – Streams of Forgetfulness: On Manuela Serra’s The Movement of Things\u003cbr\u003eAlice Blackhurst – Open Locks, Whoever Knocks! On Nina Menkes’s The Bloody Child\u003cbr\u003eJuliet Jacques – Inventing the Future: On My Twentieth Century by Ildikó Enyedi\u003cbr\u003eCorina Copp – Sparkle of The Outside\u003cbr\u003eLaura Guy – Barbara Hammer’s Hard Work\u003cbr\u003eRebecca Jane Arthur – The Need for Roots: On Ruth Beckermann’s Paper Bridge\u003cbr\u003eAmina Cain – All Desire Wants Eternity\u003cbr\u003eRicardo Matos Cabo – Ode to Mount Hayachine\u003cbr\u003eBeatrice Loayza – I Like to Watch: The Helicopter Dreams of Kathryn Bigelow and Deborah Stratman\u003cbr\u003eSophie Robinson – This Black Hole’s Dark Heart\u003cbr\u003eLaura Mulvey – Some Thoughts on Ida Lupino’s Outrage\u003cbr\u003eHuda Awan – Violent Boredom\u003cbr\u003eChloe Aridjis – Cat – Reverie – Shadows – Reflections – Puppets – Agency –Handbag – Pendulum – Silence\u003cbr\u003eCAConrad – Films for Light\u003cbr\u003eSiavash Minoukadeh – Going Off Leash\u003cbr\u003eVanessa Onwuemezi – Is it Better to Be than to Obey?\u003cbr\u003eHannah Bonner – At Arm’s Length\u003cbr\u003eSophia Satchell-Baeza – On Verticality in Falling Lessons\u003cbr\u003eDevika Girish – Dream Machine\u003cbr\u003eCaitlin Quinlan – “Absently enchantedly Destined to splice it together”\u003cbr\u003eChris McCormack – Digressions on Hell\u003cbr\u003eErika Balsom, Beatrice Gibson, María Palacios Cruz, Ben Rivers – Blind Spots, or, the\u003cbr\u003e\u003cbr\u003eThe Visible Press, 2026 \u003cbr\u003eSoftcover, 255pp \u003cbr\u003e\u003c\/p\u003e","brand":"Tenderbooks","offers":[{"title":"Default Title","offer_id":64031907905913,"sku":null,"price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0488\/8029\/files\/Tenderbooks-36_46218f72-801f-4d0a-9192-e4899c869d06.jpg?v=1784731152","url":"https:\/\/tenderbooks.co.uk\/products\/the-machine-that-kills-bad-people-notes-from-a-film-club","provider":"Tenderbooks","version":"1.0","type":"link"}