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By Patti Gaal-Holmes

ISBN-10: 113736937X

ISBN-13: 9781137369376

This entire ancient account demonstrates the wealthy variety in Nineteen Seventies British experimental filmmaking, performing as a sort of reclamation for movies and filmmakers marginalized inside of confirmed histories. An critical booklet for practitioners, historians and critics alike, it presents new interpretations of this wealthy and numerous history.

Contents

Cover
Half-Title
Title
Copyright
Dedication
Contents
record of Tables
Foreword
Acknowledgements
checklist of Abbreviations
Introduction
1 Questions of History
Historiography and background 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 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 methods to filmmaking
'Black box' or 'white cube' and anti- commodification
extended 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
hearth within the Water (1977)
Vibration (1975) and Anti-Clock (1979)
the opposite facet of the beneath (1972) and principal 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 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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Additional resources for A History of 1970s Experimental Film: Britain's Decade of Diversity

Sample text

So the problem is because there is such a lack of writing and scholarship in this area. I mean in relation to other kinds of art history generally. 17 These issues have, since my discussion with Cook, begun to be addressed – and I do this here with the ‘return to image’ thesis below – but there are still gaps and challenges to the established histories. Another concern raised by filmmaker/curator Lucy Reynolds is that most of the 1970s histories have to date been written from within. While this may give a certain depth of detail, they could also lack the necessary objectivity an ‘outsider’ might bring.

S. Johnson’s Fat Man on the Beach (1973) are a few examples which could hardly be described as minimalist. David Larcher’s Monkey’s Birthday (1975) was anything but pared down with its multi-layered imagery, montage-style and hand-worked frames. 48 In this essay O’Pray possibly did more than most to begin consolidation of the ‘return to image’ thesis, which has since been propagated to fulfil the problematic myth. 52 Surely, calling Jarman a ‘documentarist’ stretches the term somewhat. One could then even go so far as to call Peter Gidal a documentarist because he filmed clouds, aeroplanes, rooms and a hallway.

But the question of obsolete technologies also raised some pertinent issues: The technology used by David Hall’s Progressive Recession [1974] is now completely obsolete. Do you fake it with modern equivalents? 30 Curtis was concerned that these works should not be lost to history, suggesting that even if technology needed to be faked or documentation exhibited in glass cases this would be better than having no record of the work at all. Similar concerns were also reiterated by Rees when he noted that ‘[o]nly a few works are likely to survive in their original state, permanently installed in museums’.

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


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