From: Freya (email suppressed)
Date: Fri Jan 25 2008 - 03:40:39 PST
--- Joost Rekveld <email suppressed> wrote:
> for me (a european) this hardly makes sense. One of
> the stronger
> arguments for experimental filmmakers here in
> Holland to get funding
> for their work is that their work circulates
> internationally, much
> more than short fiction films for example.
> Experimental films often
> have no dialogue, and the experimental film
> community is a much more
> international network.
>
> (not meant to take part in a discussion on a book i
> haven't seen)
Don't worry the discussion isn't really about the book
at all but about all the other stuff that people don't
really want to talk about but know that they actually
ought to. This is why people make vague knowing
comments about things, expecting others to understand.
(nudge-nudge, wink-wink etc) I think for people on the
mainland it's harder to understand it all however as
things seem to be nicer and more straightforward
there.
(Yay!)
I had a big desire for some reason, to get the phrase
"a nod is as good as a wink to a blind donkey" in here
but couldn't quite work it in, oh well...
The U.K. has a very messed up scene and history in
paticular, which probably makes the u.k. people such
as Nicky more aware of this stuff. The American
history is generally the dominant one in experimental
film for all kinds of reasons, a lot of them
geo-political. This adds an extra dimension to do with
power and stuff. At the core of all this is what is
being excluded really, which is of course why there
needs to be a book about female film-makers in the
first place.
In the end I actually think that most people really
want to include everyone, because theres not loads of
people really into this nonsense to start with, this
is why when people try to create canons etc they may
often try to crow-bar people in that don't quite fit,
because they want to get everyone in there but then
those people get their work kind of distorted. I've
even seen people try to cram their own work into a
canon where it didn't fit comfortably!
You then have to throw in the fact that the knowledge
about film varies from place to place and access to
reasearch materials also varies.
I'm hearing about lots of great books and I've even
read a few, it's a good start but theres a long way to
go and not so much time. You guys need to find lots of
new ways forward and to work on these problems. To
take an interest in more than just your own little
furrow and to make sure your own little furrow isn't
exclusionary.
People need to find a way to try and understand one
another more (having this list is great!) to be more
inclusive and most of all to be a whole lot less
prescriptive, (that goes triple for the u.k.) because
there are some bad times coming and you are all going
to really need one another.
Make sure no-one gets left behined.
love
Freya
> On Jan 25, 2008, at 7:30 AM, Chuck Kleinhans wrote:
>
> > 4. The more substantive point here is surely that
> experimental
> > film in particular circulates mostly within its
> own national borders.
>
>
>
> -------------------------------------------
>
> Joost Rekveld
> ----------- http://www.lumen.nu/rekveld
>
> -------------------------------------------
>
> “This alone I ask you, O reader, that when you
> peruse the
> account of these marvels that you do not set up for
> yourself
> as a standard human intellectual pride, but rather
> the great
> size and vastness of earth and sky; and, comparing
> with
> that Infinity these slender shadows in which
> miserably and
> anxiously we are enveloped, you will easily know
> that I have
> related nothing which is beyond belief.”
> (Girolamo Cardano)
>
> -------------------------------------------
>
>
>
__________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
>
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.