SCUM MANIFESTO contexts 34

Mon Œil urged women to “get involved in the creation of a living culture, made of knowledge and know-hows closely tied to social practices”, but also to “trigger in other people the desire to get or-ganised in order to produce their own images”. 27

During the 1970s, SCUM Manifesto was thus part of the cata-logue of Mon Œil. The videotape was shown, like most militant vid-eos, in informal settings and used as the starting point for femi-nist discussions which were often very lively. The screenings took place in festive political meetings, in Culture Centres for Youth, universities, arts centres, work councils and festivals. Functioning day and night, the video monitor could be set up almost anywhere, as explained by Anne-Marie Duguet:

“A wide variety of locations were thus occupied: places where people worked, gathered, passed by — squares, gardens, mar-kets, streets, factory courtyards, warehouses, cafés, train sta-tions, etc. A small screen, placed at the foot of large build-ings, on the bonnet of a car or at the back of a van, this object, which was completely ordinary at home, here became unusu-al, prompting people to stop. A habit is displaced in a place at-tached to other habits. Like street theatre, video took the ini-tiative of such screening-happenings, following a movement that challenged traditional cultural spaces.” 28

SCUM Manifesto was also exceptionally screened during the fes-tival “Semaine exclusivement vidéo” (“A week dedicated to video”), organised by feminists at the Action République cinema from May 10 until May 16, 1978, and entitled “Une bande de femmes présente des bandes de femmes” (“A group of women presents videotapes