Abstract This article considers Jane Arden’s 1972 film The Other Side of The Underneath, a neglected work of British feminist experimental cinema that focused on experimental group therapy. Building upon the theatrical productions of Holocaust, a short-lived feminist group that Arden started in 1970, Arden’s theatrical and cinematic projects from the early 1970s involved both professional actors and untrained participants in a strange admixture of theatre exercises, group therapy, and feminist ritual. Illuminating overlooked cross-currents between the women’s liberation group-work, the anti-psychiatry movement, and the post-1960s avant-garde embrace of amateur modes of aesthetic expression and production, Arden’s work from this period refuses to accede to the tyranny of professionalised expertise – whether of the artist, actor, filmmaker, or psychiatrist.

中文翻译：

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噩梦的真正结束

摘要 本文考虑了简·雅顿 (Jane Arden) 1972 年的电影《地下的另一面》，这是一部被忽视的英国女权主义实验电影，专注于实验性团体治疗。以 Arden 于 1970 年成立的短命女权主义团体 Holocaust 的戏剧作品为基础，Arden 从 1970 年代初期开始的戏剧和电影项目涉及专业演员和未经训练的参与者，以戏剧练习、团体治疗和女权主义仪式的奇怪混合形式进行. 照亮了妇女解放团体工作、反精神病学运动和 1960 年代后对业余审美表达和生产模式的前卫拥抱之间被忽视的交叉流，雅顿这一时期的作品拒绝接受专业化的暴政专业知识——无论是艺术家、演员、电影制作人、