undertaken by Les Insoumuses. This also recalls the “strong ideo-logical and physical framing of the American edition of SCUM, in which two men (the editor Girodias, and the writer Krassner) dis-torted, warded off and cancelled the meaning of the book” 25 — a method denounced by the authors of the article “Le sexisme psycha-nalysant” (“Psychoanalysing sexism”), published in Les Temps modernes in October 1974.

The film’s functions and modes of distribution

In order to popularise their struggles and carry out “agitprop”, feminists reappropriated new public spaces with video, literally taking over the streets. While modes of video distribution played a central role in militant actions, in the beginning of the 1970s, video groups carried out what was called “vidéo-brouette” (“vid-eo-wheelbarrow”), handling themselves the showing of videotapes, with their own equipment.

The absence of structures capable of coordinating, program-ming and promoting productions proved detrimental, leading to a limited audience: “As a result, videotapes were often shown to 30 or 40 people who were already convinced. […] Thus, it too often takes the form of an inefficient apostolate” 26, declared Vidéo Out in 1974. To address these difficulties, a distribution collective, Mon Œil (named by Delphine Seyrig), was created in 1974 in order to coordi-nate videotape rentals and organise screenings, which were at the time technically complex. Its declared aims were to “contribute to information sharing amongst people with different kinds of expe-riences, and to the development of collective thinking”. Therefore,