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

By Patti Gaal-Holmes

This accomplished historic account demonstrates the wealthy range in Nineteen Seventies British experimental filmmaking, appearing as a sort of reclamation for motion pictures and filmmakers marginalized inside of validated histories. An vital ebook for practitioners, historians and critics alike, it presents new interpretations of this wealthy and numerous history.

Contents

Cover
Half-Title
Title
Copyright
Dedication
Contents
checklist of Tables
Foreword
Acknowledgements
record of Abbreviations
Introduction
1 Questions of History
Historiography and historical past via curation
Accessibility to films
Whose historical past will we need?
'Which History?'
The 'return to image' thesis
Concluding thoughts
2 Institutional Frameworks and Organisational Strategies
movie workshops
viewers engagement
self sufficient Film-Maker's organization (IFA)
Funding
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
crew investment and different alternatives
Distribution
Education
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 paintings and panorama in film
Sculpting space
'No-film' film
Concluding thoughts
four Visionary, Mythopoeia and Diary Films
Contexts for filmmaking
New concerns for Nineteen 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 aspect of the beneath (1972) and primary 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
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 photograph 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
variety 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

Show description

Preview of A History of 1970s Experimental Film: Britain's Decade of Diversity PDF

Similar Aesthetics books

Sound Unseen: Acousmatic Sound in Theory and Practice

Sound coming from outdoor the sector of imaginative and prescient, from someplace past, holds a privileged position within the Western mind's eye. while separated from their resource, sounds appear to occur transcendent nation-states, divine powers, or supernatural forces. in accordance with legend, the thinker Pythagoras lectured to his disciples from in the back of a veil, and thousand years later, within the age of absolute track, listeners have been equally excited about disembodied sounds, applying a variety of concepts to isolate sounds from their assets.

Marvelous Images: On Values and the Arts

The twelve essays via Kendall Walton during this quantity deal with a large diversity of theoretical matters in regards to the arts. a lot of them practice to the humanities generally-to literature, theater, movie, song, and the visible arts-but numerous concentration totally on pictorial illustration or images. In "'How fabulous!

Iranian Cinema and Philosophy: Shooting Truth (Literatures and Cultures of the Islamic World)

In movie reviews, Iranian motion pictures are saved at a distance, as 'other,' varied, and unique. In reponse, this publication takes those movies as philosophically suitable and cutting edge. every one bankruptcy of this book is dedicated to reading a unmarried movie, and every bankruptcy specializes in one thinker and one specific aesthetic query.

Soul and Form (Columbia Themes in Philosophy, Social Criticism, and the Arts)

György Lukacs used to be a Hungarian Marxist thinker, author, and literary critic who formed mainstream eu Communist inspiration. Soul and shape was once his first publication, released in 1910, and it confirmed his recognition, treating questions of linguistic expressivity and literary type within the works of Plato, Kierkegaard, Novalis, Sterne, and others.

Additional resources for A History of 1970s Experimental Film: Britain's Decade of Diversity

Show sample text content

A focus at the relationships among movie content material and picture shape pointed out that structural filmmaking used to be ‘often theorised as a cinematic relation – and disjunction  – among signifiers and signified. ’1 A. L. Rees also famous that ‘[d]uration grew to become the hallmark of British structural movie, a “road now not taken” by way of the mainstream cinema or through the lyric path in avant-garde film’. 2 this sort of movie experimentation explored movie medium and constitution, printed approaches and tactics in filmmaking and took an anti-Hollywood stance to counter symbolic photo use and narrative constitution. whereas firstly there have been substantial US impacts fuelling debate and filmmaking  – significantly within the kind of New American Cinema screenings (1964/68) and shut contacts with the recent York Co-operative – British experimentation was once boosted via a few energetic and influential members, together with filmmakers/theorists Malcolm Le Grice and Peter Gidal and activist/film programmer, and later Arts Council officer, David Curtis. creation amenities on the LFMC may additionally considerably allow and outline distinctively British sorts of experimentation, with Le Grice picking out movie materiality as supplying a breadth of percentages for experimentation: In its least difficult feel, the query of materiality is visible in courting to the: actual components of the movie medium, the movie strip itself as fabric and item. paintings during this zone drawing, and being attentive to the actual base (acetate), emulsion floor, sprockets, 129 130 A historical past of Nineteen Seventies Experimental movie joins and so forth. , simply colours over into an knowledge of: mechanical and physico-chemical techniques. consequently recognition is attracted to the picture chemical reaction and its chemical improvement, the move of snapshot via printing, the transformation of snapshot via those procedures and the mechanical platforms of movie shipping in digital camera, printer, or projector. three (Le Grice italics) whereas so much structural and fabric experimentation emerged from filmmakers operating at – or affiliated to – the LFMC, filmmakers reminiscent of Peter Greenaway additionally produced structural movies, and Laura Mulvey and Peter Wollen  – encouraged via ecu art-house filmmakers similar to Jean-Luc Godard  – took extra instructive methods, utilizing pro-filmic structuring units and feminist discourses to underpin motion pictures. Deke Dusinberre, selecting instructions taken through (mostly) LFMC filmmakers to counter Romantically infused, emotionally pushed filmmaking, defined the ‘ascetic job’ taken through filmmakers as follows: [T]wo similar goals: to relentlessly efface the representational point of the cinematic picture (thus enticing the discourse of the opposite arts through interrogating the very features of movie as a particular medium) and the rigorous removing of a transcendent aim or form (to preclude an analogic critique which might bring about the ‘pathetic fallacy’ which undermines the actually reflexive techniques of structural film-making). The optimistic result of those strategies of negation is to problem the dominant process of signification and to accentuate the spectator’s wisdom of her/his personal capacities for meaning-making.

Download PDF sample

Rated 4.70 of 5 – based on 25 votes