July 15, 2017

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

By Patti Gaal-Holmes

This finished old account demonstrates the wealthy range in Nineteen Seventies British experimental filmmaking, performing as a sort of reclamation for movies and filmmakers marginalized inside of confirmed histories. An essential ebook for practitioners, historians and critics alike, it presents new interpretations of this wealthy and numerous history.


checklist of Tables
checklist of Abbreviations
1 Questions of History
Historiography and background via curation
Accessibility to films
Whose heritage can 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)
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
team investment and different alternatives
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 aspect 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 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
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 photo construction
Humour, play and sound/image
Sound as narrative formation
evaluations of the formal ideological position
Concluding thoughts
6 girls 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
background, language and ideology
Concluding thoughts
end: (Re)cognitions and (Re)considerations for This History

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

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Rees also continued by saying that: Broadly the structural tendency won out in those younger filmmakers who showed their first films around 1977. It was their immediate legacy and context, although each distanced themselves from it. 70 (my emphasis) How could filmmakers go ‘further underground’? And where might this mythic place be? While Larcher made only one film in the 1970s, Monkey’s Birthday (1975), it is an epic work lasting six hours. Dwoskin made over ten films between 1970 and 1980. Jarman and Keen made over 50 films collectively in the 1970s.

Image’ is, therefore, a problematically complex term, but in the context of its ‘return’ here it relates to more expressive, personal and potentially symbolic or metaphoric use of image, possibly also serving a narrative purpose. This ‘return’ to more representational forms of visual excess was identified as being a surplus of imagery sometimes arrived at through formal or technological procedures and content which might include multiple exposures, the use of images from popular culture sources, the prevalence of the human figure or an excessive use of colour.

The New Romantics can be seen as a later example of this trait. 54 Interestingly, O’Pray made these claims at a time when Jarman’s extensive output of 1970s films had influenced the ‘New Romantic’ filmmakers Maybury and Wyn Evans. 58 More to the point, O’Pray identified the alleged return at the end of the decade to a filmmaking of representational visual excess as being complemented by a renewed interest in earlier literary and film texts: Literature replaced theory – especially Lautréamont, Burroughs with Bataille.

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