A History of 1970s Experimental Film: Britain's Decade of by Patti Gaal-Holmes

By Patti Gaal-Holmes

This entire old account demonstrates the wealthy range in Seventies British experimental filmmaking, performing as a kind of reclamation for movies and filmmakers marginalized inside verified histories. An critical ebook for practitioners, historians and critics alike, it presents new interpretations of this wealthy and numerous history.


record of Tables
record of Abbreviations
1 Questions of History
Historiography and heritage 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)
the humanities Council nice Britain (ACGB) and the British movie Institute (BFI)
The Attenborough Enquiry
team investment and different alternatives
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
multiplied 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 artwork 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 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
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 snapshot 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
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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Extra info for A History of 1970s Experimental Film: Britain's Decade of Diversity

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One could then even go so far as to call Peter Gidal a documentarist because he filmed clouds, aeroplanes, rooms and a hallway. Nevertheless, these are the intricacies of terminology. But more importantly, despite the fact that these filmmakers collectively produced a significant amount of films throughout the 1970s, O’Pray is still insistent that a ‘return to image’ occurred at the end of the 1970s. While he clearly demonstrated recognition of Larcher, Keen, Tait and Jarman’s work, he still continued with this fall-back position, claiming that a ‘return to image’ occurred at the end of the decade.

10 Thus, unrepresentative histories are not only determined by a historian or curator’s intentions but are also dependent on the availability of artefacts/artworks or sources available for inclusion. This is a particularly important issue for this 1970s history as many of the films I argue for here were not in distribution during the decade, or the filmmakers were not within the boundaries of dominant screening/exhibition circles, as was the case with B. S. Johnson, for example. 11 Jarman’s films were not the only ones out of circulation in the 1970s.

L. Rees’s Tate symposium paper, ‘No Psychodrama Please, We’re British’ (2002), in which he identified film experimentation emerging from 1960s and 1970s British underground counterculture and film schools, with a particular focus: Aesthetics is a kind of ethics. All explored the medium as material. 42 While Rees acknowledged the influence of US structural filmmakers on their British counterparts, he professed that ‘psychodrama’ or ‘mythopoeia’ (two types of US image-rich experimental filmmaking identified by Sitney) were not widespread in Britain as filmmakers were against the spectacle of cinema.

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