Scream-Along by Saskia Takens-Milne

An immersive participatory video installation as part of Women’s History Month.

1st - 31st March, 2025.  The Bohemians Hair Salon, 53 Deptford Broadway, Deptford, London, SE8 4PH

Scream-Along, 2024 (short extract of work-in-progress)

*** This exhibition contains depictions of fear and emotional trauma that may cause distress.  There are no depictions of harm, only screaming women isolated from the corresponding action, but there is a pervading sense of jeopardy. Some content may not be suitable for children under 16, and parental discretion is strongly advised. ***

The basement of The Bohemians hair salon in Deptford has been transformed into a speakeasy-style karaoke bar. Visitors enter down steps into a dimly lit space with velvet walls and thick pile carpet. A screen on the far wall plays a compilation of women screaming in films, with the screams muted, leaving only the ambient sounds. Visitors are invited to ‘scream along’ with their favourite movie screams, or join the audience. 

Scream-Along is an immersive, participatory installation. It is art as philosophy, allowing visitors to ‘step inside’ movies and see how they manipulate and embed cultural norms

Cinema is the Ultimate pervert art. It doesn’t give you what you desire, it tells you how to desire.’  Slavoj Žižek (1)

Cinema, as a mechanism of the Big Other (as theorised by Lacan and Žižek), corrupts and distorts our needs into desires that conform to our culture's ideological norms. In a patriarchal society, this means that cinema broadcasts men’s supremacy and women’s dispensability.

‘If the camera is predatory, then the culture is predatory as well.’ Iyabo Kwayana (2)

The work showcases the ubiquity of women’s agony in film. Participants take the place of the perpetually terrorised actors, whilst the audience looks on, providing an opportunity to reflect on the consequences of our societal obsession with hurting women as entertainment. This macabre theatre of performed female agony draws a direct line between our fascination with on-screen violence against women and the epidemic of male violence against women. 

'The piece is fun... at first, but it’s the contrast between the activity and the subject matter that I hope will make it memorable for participants. I think it will spark lots of thoughts and discussions about sexism and its effects. I'm excited to be part of these difficult conversations.’

Saskia Takens-Milne

Fundamentally, the installation offers the cathartic opportunity to howl along at the suffering women endure - directly and indirectly at the hands of men - in every corner of the globe.

The limited diversity in the piece is a consequence of discriminatory conventions around the ‘perfect victim’ and ‘acceptable femininity’ in film and intersects with discourses about the representation of race, class, disability etc

Saskia Takens-Milne is a contemporary British conceptual artist known for her philosophical multidisciplinary pieces. Born in 1977 in Watford, England, she studied at the Glasgow School of Art and later at Chelsea School of Art. She lives and works in South London.

Private View

6-8:30 pm, Friday 28th February

The Basement (entry through the Salon), The Bohemians Hair Salon, 53 Deptford Broadway, Deptford, London, SE8 4PH.

Exhibition opening times

Thurs & Fri 2-8pm, Sat & Sun 12-6pm (or by appointment 0784 968 6554)

Workshops

The installation is supported by three community workshops at Deptford Lounge, 9 Giffin St, London SE8 4RJ:

Make Her Complete - Nollywood Workshop with Ezinne Ezepue

1st March 2025, 1-4pm

This workshop explores the representation of woman in Nollywood films. Starting with a critical look at her lack of diversity, depth and dimension, participants will journey through the rich tapestry of Nigerian folklore to encounter strong and indomitable women who will serve as archetypes for reinventing ‘woman’ for Nollywood. This interactive and hands-on workshop invites writers, storytellers, film enthusiasts, and anyone curious about gender in media to engage their creative abilities while reflecting on the complexities and realities of Nigerian women. Together, we will dream boldly and create characters that challenge stereotypes, inspire change, and envision a new portrayal of women on screen.

Dreamscapes of the Big Screen with Joey Chin

8th March 2025, 1-4pm

Participants will learn surrealist collage techniques to explore the roles and challenges faced by Chinese female actresses in both Western and Chinese cinema. Through this creative process, they will reimagine the future trajectory and evolution of actresses' performances on the big screen. No prior knowledge of collage required, and all materials are provided. Participants will bring home their own surrealist collages.

Senses of Her (她感) with FJ (Felicia Jiang)

15th March 2025, 1-4pm

The workshop includes four creative, participatory exercises: Creative Writing (Her Monologue), Life Drawing (How You See Her), Movement (She Has a Body), and Soundscape Building (How You Hear Her). The participants will be invited to map and explore their understanding of gender representation portraying ‘unconventional’ female characters in Chinese Cinema curated by the facilitator.


1 Fiennes, S. (Director). (2006). Pervert’s Guide to Cinema [Film]. Mischief Films and Amoeba Film.

2  Menkes, N. (Director). (2022). Brainwashed: Sex-Camera-Power [Film]. Menkes Films and Eos World Fund.

Floor Plan

Previous Work

Installation view 2023

Untitled 1.1, 2022

Video Montage, Digital Video. 9.42mins

Untitled 1.1 is a montage of hundreds of commercial film clips of moments when there is no narrative action and no people are present. Just the backdrop and eerie incidental sounds remain. The viewer is disorientated and disturbed by the foreboding spaces. The tone is one of anticipation and dread. 

Untitled 1.1 is art as philosophy. It is a dialectical addition to the discourse around two of Lacan’s structures of the psyche: the Symbolic and the Real*. The Real is impossible to capture in words because language destroys it.  Using the manufactured cinematic image as a metaphor for the psyche, this piece shows isolated moments that appear unaffected by the conceptual framework of the film on a quest for glimpses of the Real (within this allegory the conceptual framework functions as the Symbolic). By constructing these quasi encounters with the Real, Untitled 1.1 attempts to make the experience of ideological capture visible to the audience to enable reflection. 

Mainstream film is a powerful instrument for broadcasting and naturalising ideological norms so it is a natural choice of medium with which to manifest an escape from the Symbolic.

* According to Lacan, the Real is the natural state that we are born into - when we have a direct relationship with the things around us - which we lose when we acquire language. Language ushers us into the Symbolic, by mediating our experience through the culture(s) around us. Once we acquire language we no longer have a direct experience with eg a person, we now understand them as a woman within a matrix of meanings and prejudices manufactured by our culture and embedded in language. 

Fair Use Disclaimer

This video contains copyrighted content which I do not have authority to use. Use of these materials is covered by the UK copyright law on fair use of works  listed in Section 30A, Schedule 2 (2A) of the Copyright, Designs and Patents Act 1988.

No copyright infringement is intended and I do not own nor claim to own any of the original footage used in the video.

Film Credits (in order of appearance)

Untitled, 2020

Video Montage

The piece is a montage of films and TV programmes in movies (reproduced in line with fair usage copyright guidelines).  These screens within screens are an infinity mirror metaphor for the looping mechanism by which life and culture endlessly inform and transform each other. 

Fair Use Disclaimer

This video contains copyrighted content which I do not have authority to use. Use of these materials is covered by the UK copyright law on fair use of works  listed in Section 30A, Schedule 2 (2A) of the Copyright, Designs and Patents Act 1988.

No copyright infringement is intended and I do not own nor claim to own any of the original footage used in the video.

Credits (In Order of Appearance)

Donnie Darko. 2001. [Film]. Richard Kelly. Dir. USA: Flowers Films

Burn After Reading. 2008. [Film]. Joel and Ethan Coen. Dirs. USA, UK, France: StudioCanal/Relativity Media/Working Title/Mike Zoss Productions

The Mirror Has Two Faces. 1996. [Film]. Barbra Streisand. Dir. USA: TriStar Pictures.

Grosse Pointe Blank. 1997. [Film]. George Armitage. Dir. USA: Hollywood Pictures/Caravan Pictures/Roger Birnbaum Productions.

9 and a Half Weeks. 1986. [Film]. Adrian Lyne. Dir. USA: Galactic Films/Jonesfilm/Producers Sales Organization/Triple Ajaxxx/Metro-Goldwyn-Maye

Heartbreakers. 2001. [Film]. David Mirkin. Dir. USA: Davis Entertainment/Winchester Films.

Nikita. 1990. [Film]. Luc Besson. Dir. France: Gaumont Film Company/Les Films Du Loup/Cecchi Gori Group Tiger Cinematografica.

The Commitments. 1991. [Film]. Alan Parker. Dir. Ireland, UK, USA: Beacon Pictures/The First Film Company/Dirty Hands Productions.

Fatal Attraction. 1987. [Film]. Adrian Lyne. Dir. USA: ​Jaffe/Lansing Productions.

Installation View 2023

Untitled, 2023

Video Montage. Footage from Hitchcock, A. (Director). (1960). Psycho [Film]. © Shamley Productions.

Untitled, 2023 is a looped video edit of the shower scene from Psycho, cut so that it ends without tragedy.

The unheimlich of watching the scene never reach its climax, exposes the ‘money shot’ value of women’s brutalisation in film. By manufacturing the relief of ‘the bad thing not happening’ the piece draws the viewer's attention to the undercurrent of fear that women live with under patriarchy, which has simply become the air we breathe.

Fair Use Disclaimer

This video contains copyrighted content which I do not have authority to use. Use of these materials is covered by the UK copyright law on fair use of works listed in Section 30A, Schedule 2 (2A) of the Copyright, Designs and Patents Act 1988.

No copyright infringement is intended and I do not own nor claim to own any of the original footage used in the video

Untitled, 2011

Video montage. Footage from Hitchcock, A. (Director). (1958). Vertigo [Film]. © Universal Studios

Fair Use Disclaimer

This video contains copyrighted content which I do not have authority to use. Use of these materials is covered by the UK copyright law on fair use of works  listed in Section 30A, Schedule 2 (2A) of the Copyright, Designs and Patents Act 1988.

No copyright infringement is intended and I do not own nor claim to own any of the original footage used in the video.