By P. Gaal-Holmes
This accomplished historic account demonstrates the wealthy variety in Seventies British experimental filmmaking, performing as a kind of reclamation for motion pictures and filmmakers marginalized inside of verified histories. An imperative ebook for practitioners, historians and critics alike, it presents new interpretations of this wealthy and various heritage.
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Extra info for A History of 1970s Experimental Film: Britain’s Decade of Diversity
While the digital availability of films is certainly wonderful, providing access to a rich diversity of films, it does not account for the majority of 1970s films discussed here and it cannot stand in for the actual viewing of a film in a darkened room (and not on a computer screen) with projection mechanisms made visible where necessary. Film also differs significantly to still artworks in its durational aspect, and it is therefore essential that the whole film be seen in order to grasp the work, differing significantly to the viewing of a drawing, painting or photograph.
Now Questions of History 17 without seeing a film from beginning to end, you couldn’t know it. And there is a whole complex system of how works are circulated. 16 One of the issues specifically overshadowing historical accounts of 1970s experimental film is that many of these to a large extent became prejudiced by a lack of – and inaccessibility to – the primary sources: the films. Reliance on accepted written texts therefore became problematically intensified as these inadvertently became representative of the period, as Cook continues: There is a problem in discourse that lacks quite far behind in the practice in this particular area because of this particular phenomenological issue with these kinds of work and their inaccessibility.
When do these decisions (which art historians take in order, they think, to separate the chaff from the wheat) start to be taken for granted? 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.
A History of 1970s Experimental Film: Britain’s Decade of Diversity by P. Gaal-Holmes