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

By Patti Gaal-Holmes

This accomplished ancient account demonstrates the wealthy range in Seventies British experimental filmmaking, performing as a kind of reclamation for motion pictures and filmmakers marginalized inside of validated histories. An vital booklet for practitioners, historians and critics alike, it presents new interpretations of this wealthy and various history.


checklist of Tables
checklist of Abbreviations
1 Questions of History
Historiography and historical past via curation
Accessibility to films
Whose heritage 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)
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
crew investment and different alternatives
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
elevated 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 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 vital 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 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
overseas 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 picture 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
range 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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Using nonetheless photos in all 3 motion pictures opens up a few attention-grabbing areas for dialogue, with The track of the blouse and mystery supplying facts of women’s old, oppressed place in society as working-class seamstresses. Archival pictures from an previous theatre construction of los angeles Bohème and of needlewomen function in mystery; and within the tune of the blouse nonetheless photos illustrate a voice-over examining of a singular a couple of distressed needlewoman. E. Ann Kaplan made a few pertinent observations approximately Potter’s use of archival pictures as contributing to Mimi’s inscribed mute function within the classical opera.

Sixty six hence, they exist as particular moments in time, recorded extra within the diffuseness of reminiscence for the performers and audience who have been current. ladies and movie 177 background, language and beliefs the various movies mentioned above are both silent or have abstract/minimal soundtracks, however the motion pictures thought of the following comprise soundtracks which considerably (alongside the visible texts) open up discourses on feminist polemics. heritage, language and beliefs are critical to those movies as they're used to polemically open up discussions on women’s ordinarily submissive roles as they interrogate patriarchal inscriptions of language.

Farrer actually drew/painted on 50 strips of transparent, 16mm movie chief laid sideby-side in oblong formation. The strips have been joined jointly endto-end, with the projected movie working as a compilation of summary pictures providing an equivalence of the total floor of a drawing, pleasurable Farrer’s purpose to ‘deal with a movie in a single stroke; to claim, good  – reduce  – I’ve handled starting, heart and result in one go’. 60 In showing either movie and drawings within the similar area, the transitory nature of movie (the relocating ‘drawing’) and the actual drawing have been juxtaposed, growing an idiosyncratic discussion among movie physicality and the ephemeral life of drawings projected in fragmented shape.

No matter what political importance this paintings was once commencing to gather is now being negated by way of common promoting in the reputable procedure of artwork validation – person who happens as a pervasive summary imprint on a world scale, with no real connection to the distinctive social geography of every urban, area or nation. 89 McCall, talking from a place of association with ‘conceptual artists’ operating with movie, criticised the co-option of those avant-garde practices into the gallery process, resulting in a commercialism that more recent experimental practices within the Nineteen Sixties had sought to undermine (as mentioned in bankruptcy 1 when it comes to anti-commodification).

The movie content material consisted of individuals crawling and clinging onto the reduce part of the glass. those works as a result created very particular viewer events wherein ‘[t]he photograph content material dictates the spectator adventure up to the environmental framework, however the nature of the managed areas for 2 and 3 humans at a time retains the event relatively immediate’. eighty five those site-specific motion pictures without delay engaged with the architectural house, hence additionally settling on the form of the paintings. whereas Dye didn’t impose such lively engagements with the viewing house, he used to be drawn to making a dialectic among movie content material and viewing context and sought to bare the essence of the movie ‘by stripping away nearly every little thing: seeing what you’ve bought left’.

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