From: Freya (email suppressed)
Date: Tue Oct 16 2007 - 02:39:59 PDT
With regard to Scholarship on the subject, there is
the new book: "A History of Artists' Film and Video in
Britain, 1897-2004 by David Curtis", which I suspect
might be worth checking out.
From what I can tell, this seems to cover both the
history of avant garde film, and the history of more
mainstream artists film and video ending in the
merging of the two. However I don't have a copy yet so
I might be misrepresenting it based on what I have
heard. Anyone here read it yet? I'd love to hear a bit
more about the book as things are bad and so I'm going
to be in a preety severe economic situation this year
I suspect and if I can save money anywhere it will
probably help a lot. Not sure whether to buy it or not
basically! :)
I should probably also note that the book was
criticized here for basically being about the London
scene and stuff and ignoring the rest of the u.k.
There was also some indication of conspiracy (which I
liked, although I'd be keen to get some aliens in
there personally :) ) but I suspect it's much more to
do with the history of the u.k. generally. In addition
there was mention of how the u.k. scene is
exclusionary and stuff hence the term "the cinema of
exclusion", which I think the majority of people would
agree with here to some extent, however having not
actually read the book I'm not sure how this would
apply to the book or whether it was just a comment on
the way things are here.
(here being the u.k. not frameworks BTW! ;) )
Anyway, regardless of bias etc, it looks like a
significant text if you are intrested in learning more
about the whole thing.
Also someone mentioned a forthcoming Re-voir DVD and
there is already a William Raban DVD from the BFI
which is definitely worth checking out! This DVD and
Decasia are the best DVD's I've seen from the BFI so
far in this vein in fact.
It was intresting to note the discussion of trying to
screen the prints while they are still in the country
and circulating about. I guess this is why the history
of Avant Garde film is different in the u.k. to the
united states. They have evolved largely seperately it
would seem and perhaps this is due in part to the
difficulties of transporting prints.
Anyone else have texts etc to recommend on the whole
u.k. history/ "cinema of exclusion" stuff? I'd be
intrested myself too. :) Please do provide your own
recommendations.
BTW Jonathon, you mention a new wave, does that imply
there was an old wave, and if so can you recommend any
texts etc?
love
Freya
--- Jonathan Walley <email suppressed> wrote:
> Hello everyone,
>
> I can't recommend this program enough. I saw it at
> Anthology a few
> years ago - came out with a completely different
> view of 60s-70s
> British avant-garde film than I went in with. I
> would love to see it
> tour the U.S. It would start a much needed new wave
> of scholarship on
> the subject.
>
> Jonathan
>
> Jonathan Walley
> Assistant Professor
> Cinema Department
> Denison University
> Granville, Ohio 43023
> email suppressed
>
> On Oct 15, 2007, at 4:07 PM, ADAM ABRAMS wrote:
>
> > Hey,
> >
> > Is this program touring around the states? Can
> you mix and match?
> > We've shown a number of these films from the new
> york co-op. Any info
> > would be appreciated.
> >
> > Thanks,
> > Adam
> > jefferson presents...
> > pittsburgh
> >
> >
> > > Date: Mon, 15 Oct 2007 12:07:03 -0700
> > > From: email suppressed
> > > Subject: Cinema Project Presents -- Shoot Shoot
> Shoot
> > > To: email suppressed
> > >
> > > Hello Frameworkers,
> > >
> > > We wanted to remind you all about a very
> important upcoming
> > screening this Tuesday October 16th and Wednesday
> October 17th. Cinema
> > Project will be having the North American Premiere
> of Shoot Shoot
> > Shoot -- a selection of 16mm films from the London
> Filmmakers
> > Co-Operative circa 1960's--1970's. This program
> was curated by Mark
> > Webber and distributed by LUX UK [see description
> below]. It is a rare
> > chance to see groundbreaking work by filmmakers
> including John Smith,
> > Malcom Le Grice, and Guy Sherwin among many
> others.
> > >
> > > We know the days are getting shorter and the
> rains are on the way,
> > but resist the urge to hibernate and join us!
> > >
> > > Much Love,
> > >
> > > Cinema Project
> > >
> > > Autumn Campbell & Jeremy Rossen
> > >
> > >
> > > October 16 + 17 2007
> > > New American Art Union [922 SE Ankeny]
> > > Portland Oregon USA
> > > 7:30pm
> > > www.cinemaproject.org
> > >
> > > The 1960s and 1970s were groundbreaking decades
> in which independent
> > filmmakers challenged cinematic convention. In
> England, much of the
> > innovation took place at the London Film-Makers'
> Co-operative, an
> > artist-led organization that enabled filmmakers to
> control every
> > aspect of the creative process. LFMC members
> conducted an
> > investigation of celluloid that echoed
> contemporary developments in
> > painting and sculpture. During this same period,
> British filmmakers
> > also made significant innovations in the field of
> "expanded cinema",
> > creating multi-screen projections, film
> environments and live
> > performance pieces.
> > >
> > > The physical production of a film (its printing
> and processing)
> > became integral to its form and content as Malcolm
> Le Grice, Lis
> > Rhodes, Peter Gidal and others explored the
> material and mechanics of
> > cinema, making radical new works that contributed
> to a new visual
> > language. The London Film-Makers' Co-operative,
> established in 1966,
> > grew from a film society at the heart of London’s
> sixties
> > counterculture to become Europe's largest
> distributor of experimental
> > cinema and was recognized internationally as a
> major centre for
> > avant-garde film.
> > >
> > > October 16
> > >
> > > Slides by Annabel Nicolson [1970, 16mm, color,
> silent, 11 min]
> > > At the Academy by Guy Sherwin [1974, 16mm, b&w,
> sound, 5 min]
> > > Shepherd's Bush by Mike Leggett [1971, 16mm,
> b&w, sound, 15 min]
> > > Film No. 1 by David Crosswaite [1971, 16mm,
> color, sound, 10 min]
> > > Dresden Dynamo by Lis Rhodes [1971, 16mm, color,
> sound, 5 min]
> > > Versailles I & II by Chris Garratt [1976, 16mm,
> b&w, sound, 11 min]
> > > Silver Surfer by Mike Dunford [1972, 16mm, b&w,
> sound, 15 min]
> > > Footsteps by Marilyn Halford [1974, 16mm, b&w,
> sound, 6 min]
> > >
> > > October 17
> > >
> > > Threshold by Malcolm Le Grice [1972, 16mm color,
> sound, 10 min]
> > > Seven Days by Chris Welsby [1974, 16mm, color,
> sound, 20 min]
> > > Key by Peter Gidal, [1968, 16mm, color, sound,
> 10 min]
> > > Moment by Stephen Dwoskin [1968, 16mm, color,
> sound, 12 min]
> > > Deck by Gill Eatherley [1971, 16mm, color,
> sound, 13 min]
> > > Colours of this Time by William Raban [1972,
> 16mm, color, silent, 3
> > min]
> > > Associations by John Smith [1975, 16mm, color,
> sound, 7 min]
> > >
> > >
>
_________________________________________________________________
> > > Climb to the top of the charts! Play Star
> Shuffle: the word
> > scramble challenge with star power.
> > >
> > http://club.live.com/star_shuffle.aspx?
> > icid=starshuffle_wlmailtextlink_oct
> > >
> > >
> > >
>
__________________________________________________________________
> > > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
> >
> > Windows Live Hotmail and Microsoft Office Outlook
> – together at last.
> > Get it now!
> >
>
__________________________________________________________________
>
> > For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
>
>
>
__________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
>
>
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.