A History of 1970s Experimental Film: Britain's Decade of by Patti Gaal-Holmes PDF

By Patti Gaal-Holmes

ISBN-10: 113736937X

ISBN-13: 9781137369376

This complete historic account demonstrates the wealthy range in Nineteen Seventies British experimental filmmaking, performing as a kind of reclamation for movies and filmmakers marginalized inside of demonstrated histories. An necessary booklet for practitioners, historians and critics alike, it offers new interpretations of this wealthy and numerous history.

Contents

Cover
Half-Title
Title
Copyright
Dedication
Contents
checklist of Tables
Foreword
Acknowledgements
checklist of Abbreviations
Introduction
1 Questions of History
Historiography and background 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 reliant Film-Maker's organization (IFA)
Funding
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
workforce investment and different alternatives
Distribution
Education
Nineteen Seventies screenings
Concluding thoughts
three Experimental movie and different visible Arts
Conceptualism, modernism and ways 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 issues 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 critical 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 sunlight ( 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
overseas 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 photo construction
Humour, play and sound/image
Sound as narrative formation
reviews 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
Notes
Bibliography
Index

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Extra info for A History of 1970s Experimental Film: Britain's Decade of Diversity

Example text

44 Rees also noted that: There has also been a crop of Neo-Romantic work, promoted by the energetic B2 group (Wapping and the Regent’s Park Diorama). Its exponents include John Maybury, Cerith Wyn Evans and Julia Hotspur Percy, working on cheap and occasionally nasty low-gauge tape and film. 45 Although Rees’s criticism of films emerging in the 1980s did not preclude their existence during the 1970s, he also indicated that a renewed change of direction occurred at the end of the 1970s. 47 Anne Rees-Mogg’s Real-Time (1971–74), Margaret Tait’s Place of Work (1976) (reviewed in the same journal issue) and B.

However, acquiring some of the work by ‘artists who had fallen through the sieves of art history’ became problematic for the reconstruction:9 How many forgotten paintings and sculptures are there for each painting that makes a career for itself in the colour reproductions of the standard works of art history? When do these decisions (which art historians take in order, they think, to separate the chaff from the wheat) start to be taken for granted? 10 Thus, unrepresentative histories are not only determined by a historian or curator’s intentions but are also dependent on the availability of artefacts/artworks or sources available for inclusion.

Questions of History 33 • The strict ‘formalism’ of structuralist filmmaking is not totally abandoned but a ‘representational’ element is reintegrated, as exemplified by the ‘landscape films’ of the 1970s. 80 Knight supported her account of the problematic perpetuation of this ‘return’ with recollections from filmmaker Barbara Meter. Writing in 1990, Meter’s account provides some interesting points relating to the alleged influence of structural and formal filmmaking and the apparent ‘return to image’ at the end of the 1970s: [L]ooking again at the British avant-garde after 15 years it is as if I have plunged into an orgy of romantic images, grainy colours, decadent and dark moods and personal evocations.

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