Nina Danino was born in Gibraltar and studied Foundation and Painting at St. Martin’s School of Art (1973-1977) and Environmental Media at the Royal College of Art (1979-1981) London, where she used slide/tape and 16mm film. She combined the subjective voice and narrative with the moving and still image as a means of enabling a feminine perspective.


She made 16mm films in the ambit of the London Filmmakers’ Co-op 1981-1987. Her films 1990-1997 mix religious iconography with psychoanalysis, the use of the voice.   Her films “lead us on journeys through altered states, religious experiences and emotional landscapes,sometimes to the edge of the representable” (Helen De Witt).  The original film soundtrack to “Now I am yours” (1993) is performed by New York vocalist Shelley Hirsch and she also performs in the film soundtrack of the landscape feature film Temenos (1997) together with leading vocals by the Tuvan singer  Sainkho Namtchylak and English soprano Catherine Bott.


Gibraltar is a geographic and imaginary space, made up of real and fictional reconstructions.  It is a connecting point in some of my works, looking inwards and outward to the region around it and at the significance of the Mediterranean dimension of geography and identity. Terrace (2012), Gibraltar-Genoa (2013), Apparitions (2013) and Meteorologies (2013) are a cycle of works which share images and sounds and which are set in the geography of the Mediterranean, Gibraltar and the Straits.   They draw on narratives of region, climate, weather, the ephemeral aspects of place and a subjective geography.


In 2010-2016 she made a series of portraits;  Communion (2010), is a silent film of a young girl, shot on 35mm, black and white, photographed by Billy Williams BSC.    Jennifer (2015)  is a feature-length documentary of an enclosed Carmelite nun in Ronda, Spain and Sorelle Povere di Santa Chiara (2015-16)  is a number of works: a single-channel video, 6-channel sound installation and a silent 16mm film made with the enclosed monastic community of Sorelle Povere in San Marino, Italy.  In 2017 she completed a PhD in Film by Publication focussing on these four works titled: Experimental Film: Catholic and Feminist Readings of my films 2010-2016.


Her films have been broadcast and screened at cinemas, festivals and museums worldwide. Visionary Landscapes, is an illustrated volume on her work by Black Dog Publishing (2005). “..and the figtrees in the Alameda gardens” is an essay on place and her films published by Mousse Publishing (2013).  Her body of work is in the collection of the British Film Institute National Film Archive.


Nina Danino has taken part in many conferences and talks on her work and on experimental film.  She was a member of the editorial collective of the journal Undercut (1982-1988), she edited the seminal Cultural Identities No 17 and is co-Editor of the Undercut Reader (2002). Her current research is in women’s experimental film and the context of the London Filmmakers’ Co-op.  She convened the roundtable discussion Women of the London Filmmaker’s Co-op  (MIRAJ Vol 4 1+2) 2016.


In 2007-2009 she undertook research in the sound library of Gibraltar Broadcasting Corporation and produced a CD of copla songs with her mother who has contributed to the soundtracks of her films.  She is researching the figure of the singer and the folkloric form of copla as a reflection of the lives of women and their roles in society.


Her new feature film The Far South with a written dialogue and music is about a woman wandering through the southern landscape.


Nina Danino lives and works in London. She is Reader in Fine Art at Goldsmiths, University of London.


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Filming First Memory, Royal College of Art, 1981