Ping Pong, Ein Film Zum Spielen-Ein Spielfilm, 1968
Body Sign Action, 1970
Touching, Body Poem, 1970
Split Reality, 1970
Einarmung (Embraced Inwards), 1972, from the seriesKo ̈r-
perkonfiguration (Body Configuration)
Einkreisung (Encirclement)1976, from the seriesKo ̈rper-
konfiguration (Body Configuration)
Elongation, 1976, from the series Ko ̈rperkonfiguration
(Body Configuration)
Space Seeing-Space Hearing, 1973–1974
Ontologisher Sprung, 1974
I (beat{it})II, 1980
Bilder der Beru ̈hrungen, 1998
Heads-Apha ̈rese, 2002
Further Reading
Askey, Ruth. ‘‘Ein Interview mit Valie Export.’’High Per-
formancevol. 4 no. 1, Fru` hjar (1981).
Gentile, Mary C.Film Feminisms. Greenwood, CT: Green-
wood Press, 1985.
Juna A. and Vale E. Research Publication 13: Angry
Women. San Francisco, Research Publication, 1991.
Mayne, Judith.The Women at the Keyhole. Indianapolis:
Indiana University Press, 1990.
Mueller, Roswitha.Valie Export: Fragments of Imagination.
Bloomington and Indianapolis: Indiana University Press,
1994.
Nesweda, P. ‘‘In Her Own Image: VALIE EXPORT, Artist
and Feminist.’’Arts Magazine(May 1991).
Stiles, Kristine. ‘‘Corporia Vilia, Valie Exports’s Body.’’
Valie Export Ob/De+Con(Struction). Philadelphia, PA:
Moore College of Art and Design, 1999.
Zell, Andrea.VALIE EXPORT: Inszenierung von Schmerz
Selbstverletzung in den fru ̈hen Aktionen. Berlin: Reimer,
2000.EXPOSURE
Making an exposure is the first step in making an
image permanent. Once an exposure is made, the
film is developed, and the image is created. In the
case of digital imaging, the exposure is recorded
directly to the light-sensitive device. The amount
of exposure is determined by how much light
strikes the film or light-sensitive device. In negative
films, for example, an increase in exposure results
in an increase in density on film. Exposure controls
include aperture (f/stop) and shutter speeds that are
set based on recommendations of the in-camera
light meter.
Getting the correct amount of exposure on film
is important for capturing all of the detail in the
original scene. For example, if the film does not
receive enough exposure (underexposure), the sha-
dow areas of the original scene will not record, and
the midtones and highlights will seem dark. If a
film is given too much exposure (overexposure), the
highlight details will be lost.
The amount of exposure needed is based on
varying factors. The amount of light in the scene,
the film’s speed (sensitivity), and the reflective
characteristics of the subject are the contributing
factors in determining the correct amount of expo-
sure. Other aspects include lens focal length, the
distance from the lens elements to the film (bellows
extension), and any filters or supplementary lenses
that could be used.Exposure Measurement
The amount of light needed to properly expose film
is measured by a light meter. A light meter can
either be internal or handheld, and makes its mea-
surements in the context of a given scene. The light
meter also needs to be set for the ISO of the film
being used; this determines the actual amount of
light needed for a ‘‘good’’ exposure based on the
film’s light sensitivity. The outcome of this mea-
surement is usually in the form of aperture and
shutter speed settings, though many meters can
also determine the number of EVs (exposure
values) for a given scene. All meters render the
light or subject they are measuring to a middle
grey value, also known as 18% grey. This value is
based on the ‘‘average’’ scene, containing an equal
amount of highlights, midtones, and shadows.
Since not all scenes fall into this ‘‘average’’ stan-
dard, the meter can give inaccurate readings for
particular scenes. For this reason, it is important
to understand how to interpret and modify ‘‘sug-EXPORT, VALIE