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

By Patti Gaal-Holmes

This complete ancient account demonstrates the wealthy variety in Seventies British experimental filmmaking, performing as a kind of reclamation for movies and filmmakers marginalized inside confirmed histories. An critical publication for practitioners, historians and critics alike, it presents 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 historical past via curation
Accessibility to films
Whose background can we need?
'Which History?'
The 'return to image' thesis
Concluding thoughts
2 Institutional Frameworks and Organisational Strategies
movie workshops
viewers engagement
self sustaining 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
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
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
hearth within the Water (1977)
Vibration (1975) and Anti-Clock (1979)
the opposite part of the beneath (1972) and valuable 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 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
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 snapshot 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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Besides Rodney Wilson, who revitalised the British artwork documentary and became it into an cutting edge broadcast style, he made the humanities Council into the lead investment company for artists’ movie and video creation and exhibition for over twenty-five years. 26 because of those insightful tasks, Arts Council help integrated awards for construction and exhibition with the Subcommittee’s meagre annual budgets starting from £6,080 in 1972/73; £14,050 in 1974/75 and £8,078 in 1974/75. 27 by means of 1977, 3 fixed-amount bursaries of £300, £750 and £1,250 have been to be had, with construction Awards additionally supplying separately assessed quantities for extra particular tasks. 28 In 1974 the RCA used to be the 1st ‘equipment-rich’ artwork university to provide together funded Arts Council bursaries, with different colleges and polytechnics following swimsuit. via 1980 the ACGB had funded over 250 experimental filmmakers via bursaries and different schemes. 29 The BFI, nevertheless, used to be confirmed in 1933 to supply information regarding all facets of cinema to the general public and educators, with a countrywide movie Library extra years later and a movie Appreciation Unit (est. 1950), headed by way of Denis Foreman, supplying lectures, summer season colleges and picture courses. 30 An Experimental movie Fund (1952–59) without set rules on supported motion pictures ‘explore[d] proposals to offer the artistic artist, similar to the painter or composer, a lot nearer regulate over the layout and creation levels of a film’. 31 In 1966 the Experimental movie Fund grew to become the British movie Institute Institutional Frameworks and Organisational techniques forty five creation Board (BFIPB), proceeding, in accordance with John Ellis, to aid ‘films of an experimental nature outdoors a without delay advertisement context’. 32 It additionally ‘established a coverage of helping “first movies” and “calling-card” shorts by means of destiny tv, ads and feature-film directors’, with Tony and Ridley Scott, Kevin Brownlow and Stephen Frears in receipt of investment. 33 regardless of stable intentions, now not many experimental movies have been funded, with Curtis’s 1969 assessment together with in basic terms movies as attainable contenders: Anthony Stern’s San Francisco (1968) and Don Levy’s 5 brief movie Poems (1967). 34 New projects emerged in 1975 with an influential new head, Peter Sainsbury, on the helm, with BFIPB schemes together with the acquisition of inexpensive movie and video gear to be used via practitioners and, importantly, a standard pool of movie technicians who ‘embraced the political and aesthetic commitments of the self sufficient sector’. 35 They ‘proved to be super talented and adaptable’, with their ‘knowledge and inventive use of 16mm filmmaking’ proving to be important to the continuation of an autonomous zone hugely depending on this gauge. 36 even though this was once much less appropriate for filmmakers operating independently or utilizing LFMC amenities, it importantly arrange an infrastructure, which incorporated technical aid along monetary backing for filmmakers desirous to benefit from smaller codecs and dealing in a extra hands-on demeanour, as filmmaker/theorist Laura Mulvey pointed out: ‘[t]here was once a feeling that 16mm used to be a cultured of its personal, that it had its personal specificity’ past that of the industry-standard 35mm layout.

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