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

By Patti Gaal-Holmes

This finished historic account demonstrates the wealthy variety in Seventies British experimental filmmaking, appearing as a sort of reclamation for motion pictures and filmmakers marginalized inside of validated histories. An crucial e-book for practitioners, historians and critics alike, it offers new interpretations of this wealthy and numerous history.

Contents

Cover
Half-Title
Title
Copyright
Dedication
Contents
checklist of Tables
Foreword
Acknowledgements
record of Abbreviations
Introduction
1 Questions of History
Historiography and heritage via curation
Accessibility to films
Whose historical past 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)
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 ways to filmmaking
'Black box' or 'white cube' and anti- commodification
increased 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
fireplace within the Water (1977)
Vibration (1975) and Anti-Clock (1979)
the opposite aspect 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 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
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
heritage, language and ideology
Concluding thoughts
end: (Re)cognitions and (Re)considerations for This History
Notes
Bibliography
Index

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Even though it is sort of six hours lengthy, Hendrikson recommended that the multi-layered movie ‘must be favored within the simplicity and wonder of its diary layout, within the depth of its own quest, and within the ambitiousness of its illustration as common odyssey’. eighty two even though Larcher labored on the LFMC intermittently within the Seventies, his paintings definitely didn’t keep on with the extra rigorous formalism of experimentation with constitution and fabric. as an alternative, his paintings took a extra own, mythopoeic method of filmmaking, incorporating poetry and fable into his paintings of visionary filmmaking, with Dwoskin’s description supplying worthy insights into Larcher’s operating methods: Larcher, who's additionally one of many few subjectively responsive and loose photographers, has no theories. If any impacts look obviously exerted it's the ‘I Ching’, hypnagogic imagery and a few of John Cage […] the true impression even though remains to be Larcher, who roves and discovers in his personal international with out the constriction of ours […] it really is freedom that's wanted by means of many, feared by way of such a lot and intellectualised out by means of others. eighty three Larcher’s perform  – unharnessed through theoretical or conceptual concerns – used to be equally shared by means of different filmmakers reminiscent of Jarman, prepared 126 A background of Nineteen Seventies Experimental movie and Anger, discovering idea in poetry, fantasy or dream, hence imbuing their filmmaking with a private imaginative and prescient of the area. Such unharnessed methods to filmmaking could additionally impression more youthful filmmakers, taking over board the liberal ways to perform: with re-filming, double exposing or transforming filmed pictures. The British/Ghanaian filmmaker, John Akomfrah, for instance, said those filmmakers as ‘the magick culture’ (referring to Anger’s term), announcing that whereas he used to be now not immersed sufficient to notice direct impacts, they certainly legitimised chances for experimentation. eighty four Poetic resonances also are obtrusive within the modern documentary/fiction movies of Ben Rivers, with hand-processing and shut observations additionally growing dialogues among movie materiality and content material. even if British diary filmmakers took varied ways to filmmaking, what united them was once the best way that private adventure, reminiscence and poetic, philosophical or mystical proposal have been mixed to create subjective reviews of fact on movie. Jarman, for instance, observed artwork and movie as ‘archaeology of the soul’, revealing: My international is in fragments, smashed in items so tremendous I  doubt I  will ever reassemble them. So I scrabble within the garbage, an archaeologist who stumbles throughout a buried movie. An archaeologist who tasks his deepest international alongside a beam of sunshine into the sector, until all is going darkish on the finish of the functionality, and we cross domestic. eighty five Filmmaking used to be for Jarman, for that reason, how to excavate and resurrect stories, infusing filmmaking with poetic or philosophical mirrored image or just featuring fragmentary studies for attention, with Chrissie Iles additionally noting that ‘[h]e thought of the little-known yet vital physique of Super-8 motion pictures on the center of his film-making’.

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