The Heretics is a semi-autobiographical documentary, following Braderman's first-person account of her arrival in New York City in 1971 and her introduction to the arts culture of Lower Manhattan.[2] This narrative becomes a framing device for the bulk of the film, which consists of intimate interviews with former Heresies Collective members, documenting their involvement with Heresies: A Feminist Publication on Art and Politics and exploring feminism in the art world during the height of the second wave women’s movement, as well as in modern times.[3][4] The titles of both the magazine and film were inspired by the credo, "new truths begin as heresies."[5]
Production
Braderman began work on the documentary in 2006, travelling across the U.S., as well as to Spain and Italy, to interview twenty-eight former members of the Heresies Collective.[3]
The Heretics incorporates interview footage shot in 24p mini-dv video with still images, 3D animation, archival footage, and staged scenes where young actresses play the roles of collective members.[6] The aesthetic of the film has been described as "radical collage," evoking both the original magazine as well as Braderman's early video art.[7]
June Millington, a so-called “Godmother of Women's Music,”[8] provided an original soundtrack, in collaboration with her nephew, Lee Madeloni. When Millington, who said the Heresies magazine "was in every hip loft and living space I stayed at," heard the film was in post-production, she tracked down Braderman in her studio, watched the rough-cut for 10 minutes, and said, "all of your music needs were just resolved."[9]
The Heretics premiered in a solo screening at the Museum of Modern Art in New York in 2009, where it ran for a week.[11]
Reception
The Heretics was well-received by press such as The New York Times, which said the film "gives a joyful sense of what it was like to be a feminist in the 1970s."[1]Ariel Dougherty said in On The Issues Magazine, "Thanks to Braderman and her savvy crew, in The Heretics, we have a compelling powerhouse example of feminism’s creative force."[12]
Some reviewers criticized the film's nostalgia,[13] while others such as Aaron Cutler from Slant Magazine, accused The Heretics of vagueness, saying the film produces "general statements about how hard it is for women to succeed in a man’s world."[14]
^Jodie Taylor, Playing it Queer: Popular Music, Identity and Queer World-making
Playing it Queer: Popular Music, Identity and Queer World-making (Peter Lang, 2012):158.