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

By Patti Gaal-Holmes

This entire ancient account demonstrates the wealthy range in Seventies British experimental filmmaking, appearing as a kind of reclamation for motion pictures and filmmakers marginalized inside confirmed histories. An critical booklet for practitioners, historians and critics alike, it offers new interpretations of this wealthy and numerous history.


record of Tables
checklist of Abbreviations
1 Questions of History
Historiography and heritage 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 sustaining 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
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 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 aspect 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
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
reviews 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

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Historiography and history through curation While the study of history is a long-established discipline, more recent approaches raised in the late 1960s by historical theorists such as E. H. Carr and Hayden White, and in the 1990s by Keith Jenkins, provide useful considerations about the positioned nature of the historian. These approaches have informed an understanding of the vagaries of historical analysis in determining the impossibility of truly objective 14 A History of 1970s Experimental Film accounts of history.

I wanted, at the outset, to bring the films to the fore as readings of this 1970s history but without a doubt to also recognise the necessary contexts of the films and histories preceding this one. It has, therefore, been important to consider historiography and the way in which canons or dominant readings can problematically be shaped and remain unchallenged. These considerations underpin the discussions here together with some pertinent questions asked about the roles of curation, the responsibility of national collections in accumulating representative histories of experimental film, and how we might look to untangle the complex histories making up contemporary moving image.

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. In her review of two experimental film histories she identified issues where both writers (David James and David Curtis) were, in effect, writing from the inside: Of course, it could be argued that academic texts are always palimpsests, as the unfolding story of the writing and the writer become overwritten, yet remain discernible, beneath the subject material.

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