By Patti Gaal-Holmes
This finished ancient account demonstrates the wealthy variety in Seventies British experimental filmmaking, appearing as a kind of reclamation for motion pictures and filmmakers marginalized inside of verified histories. An critical booklet for practitioners, historians and critics alike, it presents new interpretations of this wealthy and numerous history.
checklist of Tables
checklist of Abbreviations
1 Questions of History
Historiography and historical past via curation
Accessibility to films
Whose background will we need?
The 'return to image' thesis
2 Institutional Frameworks and Organisational Strategies
self reliant 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 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 critical Bazaar (1976)
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
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 girls and Film
Political and theoretical frameworks for filmmaking
Questions of a female aesthetic
range in women's filmmaking
The gendered movie text
a female aesthetic of ephemerality
historical past, language and ideology
end: (Re)cognitions and (Re)considerations for This History
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Additional resources for A History of 1970s Experimental Film: Britain's Decade of Diversity
S. Johnson (possibly also related to their suicides). Margaret Tait’s films were also only screened in England in the late 1970s, once she had been ‘discovered’ at a 1975 film festival. 16 A History of 1970s Experimental Film The screening of experimental films was often a rare occasion – ‘few films are likely to have more than one showing in a year even in London. 13 It is perhaps stating the obvious, but if films were not available – or so fleetingly available – there was less likelihood that they could be written about, critiqued or included in contemporary or retrospective screenings.
17 These issues have, since my discussion with Cook, begun to be addressed – and I do this here with the ‘return to image’ thesis below – but there are still gaps and challenges to the established histories. 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.
So the problem is because there is such a lack of writing and scholarship in this area. I mean in relation to other kinds of art history generally. 17 These issues have, since my discussion with Cook, begun to be addressed – and I do this here with the ‘return to image’ thesis below – but there are still gaps and challenges to the established histories. 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.