Shulie (1997) is a short experimental film by Elisabeth Subrin, an American video and film director. It is a “shot by shot” reconstruction of Shulie (1967), a short documentary filmed by four graduate film students of the Northwestern University. It was filmed on 16-mm in the cinéma vérité style as part of a documentary series about the “Now” Generation. The film’s subject, Shulie – Shulamith Firestone, was then a 22-year-old art student at the Art Institute of Chicago and a part-time worker at the Post Office. In the film, we see her in her everyday life, talking about religion, art, relationships and the feeling of being part of a generation. The documentary was buried in the archives for thirty years, during which Firestone became the leading voice of American radical feminism: in 1970, she published her manifesto The Dialectic of Sex: The Case for Feminist Revolution. In the article, we analyse the film images of Shulie in the original documentary and in its reconstruction and think about temporality and history that place themselves in the feminist gesture of repetition. We also address the differences seen from the contemporary point of view when watching both films in parallel.

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