“Katherine Meynell (1954-, UK) examined notions of female subjectivity through the complexities of the mother-daughter relationship in two videotapes produced in the late 1980s – Hannah’s Song (1987) and Medusa (1988). Meynell, explores her subjective perspectives on multiple levels in these tapes, simultaneously reflecting on the mythological, the symbolic and the socio-political. In discussing the themes and impetus of the work, she has claimed that it was ‘the direct result of the confusion and paradoxes of my beliefs as a feminist’. Meynell’s video work in this period was narrative-based; constructing ’empirical fictions’, she explored the intricate intimacies and conflicts of birth and motherhood.”

David Curtis (ed.) (1996) ‘Katherine Meynell’, A Directory of British Film and Video Artists, Arts Council of England/John Libbey Media, Luton, p.126.
Chris Meigh-Andrews, A History of Video Art, The Development of Form and Function. Berg, 2006.

‘Hannah’s Song’ listing, National Review of Live Art, 1985. pdf here

‘I Am…[The Sister’s Story, Untitled, Hannah’s Song] Felicity Sparrow, City Limits, 7th-14th May 1987. pdf here

‘I Am…’, Flyer, Torriano Meeting House, 9th May 1987. pdf here

‘Hannah’s Song’, European Media Art Festival programme, Osnabruck, 1988. pdf here

‘Hannah’s Song’, Unidentified Catalogue Listing, C.1986. pdf here

‘Hannah’s Song’, Community care – selection by Boyd Tonkin and Denis Davies, Festival Screenings. undated. pdf here

Programme with information on works exhibited at ‘Cinematic Exploration – Expanding Screens 1960 – 1975’, January 25th – 30th 2004, Lumiere Cinema, including ‘Hannah’s Song’.pdf here

Poster for ÎActs of Remembrance Ò Performance and Video Art Fortnight on the theme of memoryÌ, Harris Art Gallery, Preston 1989. Includes information on ‘Hannah’s Song’.pdf here