Download E-books A History of 1970s Experimental Film: Britain's Decade of Diversity PDF

By Patti Gaal-Holmes

This complete historic account demonstrates the wealthy variety in Nineteen Seventies British experimental filmmaking, performing as a sort of reclamation for motion pictures and filmmakers marginalized inside confirmed histories. An crucial ebook for practitioners, historians and critics alike, it offers new interpretations of this wealthy and numerous history.


checklist of Tables
checklist of Abbreviations
1 Questions of History
Historiography and historical past via curation
Accessibility to films
Whose heritage will we need?
'Which History?'
The 'return to image' thesis
Concluding thoughts
2 Institutional Frameworks and Organisational Strategies
movie workshops
viewers engagement
self sustaining Film-Maker's organization (IFA)
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
crew investment and different alternatives
Nineteen Seventies screenings
Concluding thoughts
three Experimental movie and different visible Arts
Conceptualism, modernism and techniques to filmmaking
'Black box' or 'white cube' and anti- commodification
increased cinema
movie experimentation
Jarman's portray, romanticism and 'sensuous' film
color box portray and Cubism
Optical painting/optical film
movie and photography
Drawing on film
Land artwork and panorama in film
Sculpting space
'No-film' film
Concluding thoughts
four Visionary, Mythopoeia and Diary Films
Contexts for filmmaking
New concerns for Seventies British films
Psycho-dramatic trance, lyrical and mythopoeia in British films
fireplace within the Water (1977)
Vibration (1975) and Anti-Clock (1979)
the opposite part of the beneath (1972) and valuable Bazaar (1976)
'Psycho-dramatic trance'
Invocation of My Demon Brother (1969) and Rayday movie (1968–70 and 1976)
Lucifer emerging ( 1970–1981), within the Shadow of the solar ( 1974–81) and The artwork of Mirrors (1973)
British 'diary' films
Ian Breakwell
B. S. Johnson
Margaret Tait
Anne Rees-Mogg
David Larcher
Concluding thoughts
five Experiments with constitution and Material
foreign exchanges
Theoretical views for filmmaking: Sitney, Le Grice and Gidal
Distinctively British experimentation and the LFMC
Consolidating structural and fabric filmmaking: Le Grice and Gidal
movie experimentation
movie materiality
the target and/or subjective ' camera-eye': Gidal and Brakhage
Anticipation via picture construction
Humour, play and sound/image
Sound as narrative formation
evaluations of the formal ideological position
Concluding thoughts
6 ladies and Film
Political and theoretical frameworks for filmmaking
Questions of a female aesthetic
range in women's filmmaking
The domestic
The gendered movie text
a female aesthetic of ephemerality
historical past, language and ideology
Concluding thoughts
end: (Re)cognitions and (Re)considerations for This History

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The ‘return to photo’ thesis The ‘return to photograph’ thesis, arguing that extra representational and image-rich kinds of filmmaking happened on the finish of the Nineteen Seventies integrated using numerous phrases resembling ‘autobiographical’, ‘personal’ filmmaking, ‘narrative’, ‘celebratory cinema’, ‘visionary cinema’, ‘cinema of excess’, and ‘poetic’ filmmaking. 39 ‘Autobiographical’ and ‘personal filmmaking’  – extra self-explanatory  – mentioned filmmakers drawing on own biographical references; ‘narrative’ pointed out motion pictures taking a extra linear, narrative structure. The ‘film poem’ used to be defined by means of P. Adams Sitney as being made by means of filmmakers who ‘like poets, produce their paintings with out monetary present, frequently making nice sacrifices to take action’ but in addition refers to extra poetic filmic types (rather than extra summary, minimalist texts). forty Sitney likened the connection of the ‘film poem’ to advertisement narrative cinema as being just like that of poetry to fiction. The notice ‘image’ additionally calls for a quick second of attention right here as movie is, arguably, constantly approximately photograph even if the picture printed is the grain of the movie, a color box or recognisable figurative imagery. 24 A heritage of Nineteen Seventies Experimental movie Exceptions to this might be conceptual works, mentioned in bankruptcy three as ‘no movie’ movies, the place no genuine movie exists however the works explicitly check with the filmed photograph of their conceptualisation and exhibition. ‘Image’ is, hence, a problematically complicated time period, yet within the context of its ‘return’ the following it pertains to extra expressive, own and very likely symbolic or metaphoric use of picture, potentially additionally serving a story goal. This ‘return’ to extra representational sorts of visible extra was once pointed out as being a surplus of images occasionally arrived at via formal or technological systems and content material which would comprise a number of exposures, using photographs from pop culture resources, the superiority of the human determine or an over the top use of color. Or those motion pictures have been easily own motion pictures expressing person responses to the realm with pictures being recognisably figurative instead of summary. i'm going to start with movie historian, A. L. Rees’s Tate symposium paper, ‘No Psychodrama Please, We’re British’ (2002), during which he pointed out movie experimentation rising from Nineteen Sixties and Seventies British underground counterculture and movie faculties, with a specific concentration: Aesthetics is one of those ethics. All explored the medium as fabric. Artisanal paintings got here, now not via drama, yet purely movie as technique, whatever now not fastened and regularly in a country of deferral. forty-one US effect, Rees acknowledged, got here via Warhol  – a couple of unlawful dubs had made their technique to the LFMC – whose images have been ‘cool, target, rejecting the interiority of the psychodrama, which was once noticeable as phoney and pretentious’. forty two whereas Rees said the impact people structural filmmakers on their British opposite numbers, he professed that ‘psychodrama’ or ‘mythopoeia’ (two varieties of US image-rich experimental filmmaking pointed out by means of Sitney) weren't frequent in Britain as filmmakers have been opposed to the spectacle of cinema.

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