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

By Patti Gaal-Holmes

This accomplished old account demonstrates the wealthy range in Seventies British experimental filmmaking, performing as a sort of reclamation for movies and filmmakers marginalized inside demonstrated histories. An vital ebook for practitioners, historians and critics alike, it offers new interpretations of this wealthy and various history.

Contents

Cover
Half-Title
Title
Copyright
Dedication
Contents
record of Tables
Foreword
Acknowledgements
record of Abbreviations
Introduction
1 Questions of History
Historiography and background via curation
Accessibility to films
Whose heritage can 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)
Funding
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
workforce investment and different alternatives
Distribution
Education
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
improved 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 issues 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 part of the beneath (1972) and critical 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 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
opinions 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
background, language and ideology
Concluding thoughts
end: (Re)cognitions and (Re)considerations for This History
Notes
Bibliography
Index

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Movies have been knowledgeable through feminism, advancements within the arts, formal experimentation and by way of movie theories on the topic of Marxism, psychoanalysis, semiotics and structuralism. Wider political and theoretical frameworks regarding feminism and women’s filmmaking are mentioned on the outset to contextualise the complicated spheres of impact. this may be via discussions widely used within the Nineteen Seventies, taking into consideration no matter if a female aesthetic existed, as those supply a few quite attention-grabbing frameworks for attention. Thereafter, a number experimental movies may be mentioned, targeting the family, the gendered movie textual content, the aesthetics of ephemerality and the way background, language and beliefs have been used to question women’s traditionally inscribed roles. Political and theoretical frameworks for filmmaking whereas the 1st wave of feminism concerned with women’s judicial rights, the second one wave of Nineteen Sixties feminism argued for gender equality in schooling and paintings, in addition to entry to unfastened healthiness- and childcare. even if a collective spirit – in either the united states and Britain – consolidated the early phases of the Women’s move, fragmentation intensified within the Seventies as differing priorities ended in extra particular feminist campaigning. Imelda Whelehan, despite the fact that, famous: There won't were one dominant definition of feminism, yet all strands have been rooted within the trust that girls undergo injustice 157 158 A background of Nineteen Seventies Experimental movie due to their intercourse; and the emergence of women’s liberation as not just a stream yet an highbrow tendency too proved appealing to many girls. 1 The highbrow tendency used to be very important for exciting artists and filmmakers, manifesting itself in assorted discourses informing inventive construction. ‘The own is political’ personified the Women’s move, for regardless of the differing issues of crusade teams and members, basically all feminist politics necessitated the scrutiny of personal existence. The booklet of influential feminist texts through Betty Friedan, Germaine Greer, Kate Millett and Juliet Mitchell (amongst others) raised know-how and additional mobilised motion, with British feminist magazines similar to Spare Rib, crimson Rag and Shrew additionally delivering very important systems for dissemination. US feminist movie journals additionally integrated ladies and movie (1972–75) and digital camera Obscura (from 1976), supplying a voice for particular matters. essentially the most influential essays for girls filmmakers was once in all likelihood Laura Mulvey’s seminal ‘Visual excitement and Narrative Cinema’ (1975), taking a Freudian method of critique women’s roles as gadgets of hope in dominant, ‘Hollywood’ cinema and beginning up major discourses for visible and highbrow engagement with movie. D. N. Rodowick posited Mulvey’s essay as ‘the watershed article’ in terms of ladies and movie, picking it as ‘a polemic for an avant-garde feminist perform’ and ‘a key textual content of political modernism’. 2 He maintained that Mulvey’s issues must also be understood in the broader framework of feminist concept: during this recognize Mulvey could be learn within the context of the paintings by means of Juliet Mitchell, Julia Kristeva, Michèle Montrelay, Luce Irigaray, and different vital thinkers, all of whom had released pathbreaking texts by way of the mid-70s.

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