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

By Patti Gaal-Holmes

This accomplished old account demonstrates the wealthy variety in Seventies British experimental filmmaking, appearing as a kind of reclamation for movies and filmmakers marginalized inside proven histories. An essential e-book for practitioners, historians and critics alike, it presents new interpretations of this wealthy and various history.

Contents

Cover
Half-Title
Title
Copyright
Dedication
Contents
checklist of Tables
Foreword
Acknowledgements
checklist of Abbreviations
Introduction
1 Questions of History
Historiography and historical past via curation
Accessibility to films
Whose background can we need?
'Which History?'
The 'return to image' thesis
Concluding thoughts
2 Institutional Frameworks and Organisational Strategies
movie workshops
viewers engagement
autonomous Film-Maker's organization (IFA)
Funding
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
staff investment and different alternatives
Distribution
Education
Nineteen Seventies screenings
Concluding thoughts
three Experimental movie and different visible Arts
Conceptualism, modernism and methods to filmmaking
'Black box' or 'white cube' and anti- commodification
accelerated 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 Nineteen Seventies British films
Psycho-dramatic trance, lyrical and mythopoeia in British films
hearth within the Water (1977)
Vibration (1975) and Anti-Clock (1979)
the opposite part of the beneath (1972) and important 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 paintings 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 photograph construction
Humour, play and sound/image
Sound as narrative formation
reviews of the formal ideological position
Concluding thoughts
6 girls 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
background, language and ideology
Concluding thoughts
end: (Re)cognitions and (Re)considerations for This History
Notes
Bibliography
Index

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Particularly, it really is printed how different visible practices may possibly tell filmmaking, yet concurrently additionally expand the limits of the movie medium. even if the impact of numerous visible practices is obvious in both movie content material or within the screening context, basically the incentive in the back of the works was once within the own ways for movie ‘thought’ to happen, even if via poetic interactions with mild, color or subject material, or via extra deliberate techniques, occasionally utilizing cinematographic units, choosing filmmaking procedures or methods. during this manner the medium of movie provided possibilities for a variety of experimentation with principles (where extra conceptual methods should be taken) or with the appliance of fabric procedures utilized in different media onto movie in an exploratory demeanour, via attractive with the digital camera as a device for drawing/painting, with the film-strip or the exhibition context as a medium of exploration. the subsequent bankruptcy extends a few of these investigations to discover motion pictures taking own, frequently expressive routes knowledgeable through facets of the counterculture: mysticism, pop culture, psychoanalysis or diaristic techniques to filmmaking. For all of those artists and filmmakers it was once basically the enjoyment of getting into the chances of movie, as Dwoskin prior defined, which provided such a lot of possibilities for enquiry and engagement. four Visionary, Mythopoeia and Diary movies during this bankruptcy, own, expressive movies proficient by way of points of the countercultural stream, psychoanalysis, mysticism, the occult, pop culture, literature and diaristic ways to filmmaking are mentioned. even supposing relationships with the visible arts also are glaring, the non-public, symbolic or metaphoric use of picture has a tendency to be valuable to a few of the motion pictures below dialogue the following. For a few filmmakers, akin to Margaret Tait, it was once basically the enjoyment of ‘stalking’ and taking pictures photographs, supplying specified files of person lives, that drew her to movie. For others, connecting those to bigger own mythologies or mental narratives used to be additionally relevant to advancements. a few of the filmmakers mentioned the following knowledgeable in paintings colleges, with others educated through their paintings as avant-garde writers (B. S. Johnson), poets (Tait) or playwrights (Jane Arden). a few had affiliations with the LFMC, even though others have been oblivious to its lifestyles; and whereas cinematographic recording and structuring units additionally knowledgeable facets of filmmaking, those may in most cases no longer shape the overriding concentration of those motion pictures. on the outset of this bankruptcy a few key matters in terms of the counterculture, psychoanalysis and private ways to filmmaking are mentioned, as they supply contexts informing filmmaking. Thereafter, movies are thought of in higher aspect, referring (where acceptable) to P. Adams Sitney’s taxonomical definitions of ‘psycho-dramatic trance’, ‘lyrical’, ‘mythopoeia’ and ‘diary’. 1 whereas Sitney’s definitions act as important guidance, this isn't to indicate that each one British movies may still explicitly be learn via his analyses.

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