New PDF release: A History of 1970s Experimental Film: Britain's Decade of

By Patti Gaal-Holmes

This finished old account demonstrates the wealthy variety in Seventies British experimental filmmaking, appearing as a sort of reclamation for motion pictures and filmmakers marginalized inside of proven histories. An essential ebook for practitioners, historians and critics alike, it presents new interpretations of this wealthy and various history.


record 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 sustaining Film-Maker's organization (IFA)
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
workforce investment and different alternatives
Seventies screenings
Concluding thoughts
three Experimental movie and different visible Arts
Conceptualism, modernism and techniques to filmmaking
'Black box' or 'white cube' and anti- commodification
multiplied 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 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 significant 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 photograph construction
Humour, play and sound/image
Sound as narrative formation
opinions 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
heritage, 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

Example text

Le Grice’s recommendations were, however, largely disregarded at the time and have yet to be fully addressed over 40 years later. 34 Mazière pointed out that he too had approached the Tate, asking them why they weren’t collecting the work, with their responses from the late 80s being: ‘[w]e are not a museum of modern art. We are a museum of British art so it’s not in our remit. 36 But to date, many of the 1970s films representative of this influential and formative decade – where a veritable ‘explosion’ in experimental filmmaking took place – have yet to be included in the Tate’s collections.

While the digital availability of films is certainly wonderful, providing access to a rich diversity of films, it does not account for the majority of 1970s films discussed here and it cannot stand in for the actual viewing of a film in a darkened room (and not on a computer screen) with projection mechanisms made visible where necessary. Film also differs significantly to still artworks in its durational aspect, and it is therefore essential that the whole film be seen in order to grasp the work, differing significantly to the viewing of a drawing, painting or photograph.

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.

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