By Patti Gaal-Holmes
This entire ancient account demonstrates the wealthy range in Nineteen Seventies British experimental filmmaking, performing as a kind of reclamation for motion pictures and filmmakers marginalized inside of proven histories. An quintessential publication for practitioners, historians and critics alike, it offers new interpretations of this wealthy and various history.
record of Tables
record of Abbreviations
1 Questions of History
Historiography and background via curation
Accessibility to films
Whose heritage will we need?
The 'return to image' thesis
2 Institutional Frameworks and Organisational Strategies
autonomous 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
three Experimental movie and different visible Arts
Conceptualism, modernism and techniques to filmmaking
'Black box' or 'white cube' and anti- commodification
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
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
fireplace within the Water (1977)
Vibration (1975) and Anti-Clock (1979)
the opposite facet of the beneath (1972) and valuable Bazaar (1976)
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 paintings of Mirrors (1973)
British 'diary' films
B. S. Johnson
five Experiments with constitution and Material
Theoretical views for filmmaking: Sitney, Le Grice and Gidal
Distinctively British experimentation and the LFMC
Consolidating structural and fabric filmmaking: Le Grice and Gidal
the target and/or subjective ' camera-eye': Gidal and Brakhage
Anticipation via picture construction
Humour, play and sound/image
Sound as narrative formation
reviews of the formal ideological position
6 ladies and Film
Political and theoretical frameworks for filmmaking
Questions of a female aesthetic
variety in women's filmmaking
The gendered movie text
a female aesthetic of ephemerality
background, language and ideology
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
1 Should it admit to the sometimes arbitrary choices made by the historian who follows a hunch or a path with a head already full of ideas, but who through necessity gets momentarily side-tracked as new discoveries make themselves visible? What are the positioned approaches taken by historians, bringing their world-views to shadow the table where chosen sources are spread out for examination? How are these sources revealed in the light of the future moment of the new history’s arrival? These questions raise possibilities which the practice of history brings to the fore, and to my mind these positioned approaches cannot pretend to exist within the certainties of a definitive methodology.
What a reaction against the asceticism of the formal and structural film which reigned at the time I was around. A predictable reaction of course – and one which is highly indebted to just that formal movement. 81 (Knight’s emphasis) As Knight also highlighted, it was rather a large claim, on Meter’s part, to state that all British work was informed by structural filmmaking. 85 More problematically, however, I would argue that the prioritisation of structural 34 A History of 1970s Experimental Film and formal experimentation as exemplary of the decade’s production perpetuated this notion of an alleged ‘return to image’ at the end of the decade, thereby relegating other forms of filmmaking to the margins.
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.
A History of 1970s Experimental Film: Britain's Decade of Diversity by Patti Gaal-Holmes