Anna Backman Rogers

MAI co-founder and co-editor-in-chief, Anna Backman Rogers is a Professor in Aesthetics and Culture specialising in feminist theory at the University of Gothenburg, Sweden. She is also the author of American Independent Cinema: Rites of Passage and The Crisis Image (Edinburgh University Press, 2015), Sofia Coppola: The Politics of Visual Pleasure (Berghahn, 2018), and Still Life: Notes on Barbara Loden’s Wanda (Punctum, 2021).

She is also the co-editor with Laura Mulvey of Feminisms (Amsterdam University Press, 2015) and the co-editor with Boel Ulfsdotter of Female Authorship and the Documentary Image: Theory, Practice and Aesthetics and Female Agency and Documentary Strategies: Subjectivities, Identity, and Activism (both with Edinburgh University Press, 2017).

Anna is currently working on the BFI Classics volume on Peter Weir’s Picnic at Hanging Rock (Bloomsbury, 2022), a monograph addressing the cinema of Lynne Ramsay through notions of ambiguity and ambivalence (Berghahn, 2024), and a co-edited volume with Laura Mulvey on feminist filmmakers, scholars and practitioners (Bloomsbury, 2024).




Backman Rogers offers a humorous reflection on ‘The Expulsion from the Temple/Female Christ’, the 1969 happening at the Danish Stock Exchange.

In this poem, Anna Backman Rogers reflects on boarding schools, the middle classes, Brexit, conservatism and fathers.

Artist Hanna Norrna discusses her working methods, materiality, and her participation in the creative community.

MAI meets Anne Sommerin Simonnæs from the National Museum in Oslo to honour and celebrate the legacy of Frida Hansen, the Norwegian mother of creative weaving.

Artist Hannah Waldron talks about how she became a weaver, her artistic inspirations, creation and temporality.

An ode to Edie Sedgwick, ‘Warhol’s muse’, via notions of ‘original’ and ‘copy’ and the difference between being looked at and being seen.

Photographer Julia Peirone talks about the importance of girlhood in her work, the relationship between subject and photographer and her influences.

Filmmaker and scholar, Aparna Sharma reflects on her creative documentary practice in Northeast India in terms of both feminism and decolonisation.

Ingrid Ryberg’s film En armé av älskande is a documentary about queer filmmaking as a crucial part of the gay liberation movement in Sweden in the 1970s.

Backman Rogers watches Maja Borg’s Future My Love (2012) to ponder on our quests for happiness and intimate relationships.

Kate Levey reflects on the extraordinary life and legacy of her mother, the writer and activist, Brigid Brophy.


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The team of MAI supporters and contributors is always expanding. We’re honoured to have a specialist collective of editors, whose enthusiasm & talent gave birth to MAI.

However, to turn our MAI dream into reality, we also relied on assistance from high-quality experts in web design, development and photography. Here we’d like to acknowledge their hard work and commitment to the feminist cause. Our feminist ‘thank you’ goes to:

Dots+Circles – a digital agency determined to make a difference, who’ve designed and built our MAI website. Their continuous support became a digital catalyst to our idealistic project.
Guy Martin – an award-winning and widely published British photographer who’s kindly agreed to share his images with our readers

Chandler Jernigan – a talented young American photographer whose portraits hugely enriched the visuals of MAI website
Matt Gillespie – a gifted professional British photographer who with no hesitation gave us permission to use some of his work
Julia Carbonell – an emerging Spanish photographer whose sharp outlook at contemporary women grasped our feminist attention
Ana Pedreira – a self-taught Portuguese photographer whose imagery from women protests beams with feminist aura
And other photographers whose images have been reproduced here: Cezanne Ali, Les Anderson, Mike Wilson, Annie Spratt, Cristian Newman, Peter Hershey