--How does Frye relate his work (including his film programming) to the following movements / concepts / genres:
Minimalism -Frye would use old or disgarded films and show them as they were to "show it as something you don't have power over." As he explains it as "not trying to assert yourself over the film." He lets his film create themselves.
Fluxus - Many of his films such as The Most Important Moment in My Life (Infinite Set) use the same concepts and techniques to create art as a performance.
Performance (and performance art) - Just like Fluxus films some of his films document just one movement of the human body is slow motion such as he Most Important Moment in My Life (Infinite Set) as mention earlier.
--How does Frye respond to the question about what he “adds” to films such as Anatomy of Melancholy?
Hey explains the way he lets films do what they are doing in a minimal ways just as Warhol did with him films, which Frye believes shaped the American Avant garde.
Scott MacDonald, “Maintenance”
--What are some of the reasons for rental income growth at Canyon Cinema between 1980 and 2003? How did Canyon distinguish itself from the Filmmakers Cooperative and the Museum of Modern Art?
Canyon was constantly updating their catalogues. With the growing interest and education use with the Avant garde, the income grew tremendously. The constant updating distinquished it from other similar organizations.
--What problems and controversies did video distribution cause for Canyon in the 1990s? To what degree were the sides of the debate related to the age of the filmmakers on each side? Based upon the interview with Dominic Angerame at the end of the chapter, what was his position on the video debate?
Their original mission only mentioned 16mm and super 8mm film. I sides of the argument basically depended on what the filmmaker knew how to use. It was more about an unwillingness to learn new technology than it was an aesthetic issue. His concerns seemed to be in the logistics of distribution without copywrite or bootlegging issues, not so much with the earlier argument of video vs film.
--What were the advantages and disadvantages to funding from the National Endowment from the Arts? What controversies developed related to the publication of Canyon Cinema Catalog #5? Although the national government was picking up the tap for the new edition of the catalogue, they also had a say in what would be published. This form of censorship eventually sunk the whole project.
Sunday, April 18, 2010
Monday, April 12, 2010
Pixel Visions and such : |ˈpiksəl| |ˈvi zh ən|
1. How is Sadie Benning's work related to general trends and characteristics in Riot Grrl subculture? How is Riot Grrl subculture similar to and different from punk subculture?
Although Bennings stylistic choices and raw content was slimier to Riot Grrrl subculture, her recognition by institutional film studies groups was completely in direct opposition on the stand point of this subculture. Riot Grrl was apposed to any mainstream support what so ever. Althought it seem somewhat out of Bennings control to predict the reception of her film, this is what split them apart.
2. Why does Milliken refer to Benning's work as visual essays? What are the advantages of viewing the work in relation to this genre? What is meant by "radical feminist essayistic" form?
Benning uses the techniques of found tav and film footage, scrawled messages magazines cut outs and samples of pop music to make a scrap book of personal experience in her films. Thes visual and audible queues give us an insight into her experience just as other diary films do, just in a different way. Benning deals with issues of gender sexually, homosexually, and age from a young (16 years old) female point of view.
Keller and Ward, "Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster"
3. What has changed in the gallery art world that allows Barney to describe his work as “sculpture”? In other words, how has the definition of sculpture changed since the 1960s, and why?
The used of crossing media and technology has allowed the term sculpture to become "baggier" or less concrete. It now includes video, performance pieces, and architecture. Each conform to the concerns of sculpture such as the emphasis of geometric forms, but medium wise they are unrelated.
4. Tricky but important question: Why was minimalist sculpture seen as a reaction against the “modernist hymns to the purity and specificity of aesthetic experience”? In other words: Why do they say that minimalist sculpture is post-modernist?
Minimalist sculpture just as in Fluxus films left the audience will little to keep their interest. This allows them to make relationships with the minute details of the art and their specific retaliationship with the "object",whatever it may be.
5. Describe the role of the body in the works of Vito Acconci and Chris Burden. You may wish to consult the following links to supplement the descriptions in the readings:
These artist use the human body as their canvas and their subject's performance or reactions as the medium.
Walley, "Modes of Film Practice in the Avant-Garde"
6. What is meant by “mode of film practice”? Give two well known examples of non-experimental modes of film practice. Why does Walley argue that the concept of the mode of film practice can help distinguish between the experimental film and gallery art worlds?
Films is the same mode of film practice "refer to the cluster of historically bound institutions, practices and concepts that form a context within which cinematic mead are used." What all that means is films made similarly that deal with the same concerns. Walley says there is more behind this definition. Distribution, exhibition and reception play a role in the mode of film production as well. Hollywood and Independent cinema are the most prominent modes of film production in the US as of now. Bigger Hollywood studios work with Independent producers to fund smaller projects. Walley explains that some Avant garde film fit in galleries because of techniques used by the filmmakers match those of the artists in the gallery. Similar exploration of different art forms allow films to make their way into galleries.
7. What are some of the key differences between the experimental and gallery art worlds in terms of production and distribution?
Experimental films are defined by the their "division of labour." In most accepts the filmmaker controls everything. He calls it an "collaborative effort. On the other hand artist film are more so collaborative. The difference in exhibition is simply Avant garde filmmakers make little money while art house filmmakers capitalize more so as painters and sculptors do. As is avant garde filmmakers rarely sell actually prints of their film, but artist filmmakers budget the sales of their film just as any painter of book makers or sculptor or print maker would.
Although Bennings stylistic choices and raw content was slimier to Riot Grrrl subculture, her recognition by institutional film studies groups was completely in direct opposition on the stand point of this subculture. Riot Grrl was apposed to any mainstream support what so ever. Althought it seem somewhat out of Bennings control to predict the reception of her film, this is what split them apart.
2. Why does Milliken refer to Benning's work as visual essays? What are the advantages of viewing the work in relation to this genre? What is meant by "radical feminist essayistic" form?
Benning uses the techniques of found tav and film footage, scrawled messages magazines cut outs and samples of pop music to make a scrap book of personal experience in her films. Thes visual and audible queues give us an insight into her experience just as other diary films do, just in a different way. Benning deals with issues of gender sexually, homosexually, and age from a young (16 years old) female point of view.
Keller and Ward, "Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster"
3. What has changed in the gallery art world that allows Barney to describe his work as “sculpture”? In other words, how has the definition of sculpture changed since the 1960s, and why?
The used of crossing media and technology has allowed the term sculpture to become "baggier" or less concrete. It now includes video, performance pieces, and architecture. Each conform to the concerns of sculpture such as the emphasis of geometric forms, but medium wise they are unrelated.
4. Tricky but important question: Why was minimalist sculpture seen as a reaction against the “modernist hymns to the purity and specificity of aesthetic experience”? In other words: Why do they say that minimalist sculpture is post-modernist?
Minimalist sculpture just as in Fluxus films left the audience will little to keep their interest. This allows them to make relationships with the minute details of the art and their specific retaliationship with the "object",whatever it may be.
5. Describe the role of the body in the works of Vito Acconci and Chris Burden. You may wish to consult the following links to supplement the descriptions in the readings:
These artist use the human body as their canvas and their subject's performance or reactions as the medium.
Walley, "Modes of Film Practice in the Avant-Garde"
6. What is meant by “mode of film practice”? Give two well known examples of non-experimental modes of film practice. Why does Walley argue that the concept of the mode of film practice can help distinguish between the experimental film and gallery art worlds?
Films is the same mode of film practice "refer to the cluster of historically bound institutions, practices and concepts that form a context within which cinematic mead are used." What all that means is films made similarly that deal with the same concerns. Walley says there is more behind this definition. Distribution, exhibition and reception play a role in the mode of film production as well. Hollywood and Independent cinema are the most prominent modes of film production in the US as of now. Bigger Hollywood studios work with Independent producers to fund smaller projects. Walley explains that some Avant garde film fit in galleries because of techniques used by the filmmakers match those of the artists in the gallery. Similar exploration of different art forms allow films to make their way into galleries.
7. What are some of the key differences between the experimental and gallery art worlds in terms of production and distribution?
Experimental films are defined by the their "division of labour." In most accepts the filmmaker controls everything. He calls it an "collaborative effort. On the other hand artist film are more so collaborative. The difference in exhibition is simply Avant garde filmmakers make little money while art house filmmakers capitalize more so as painters and sculptors do. As is avant garde filmmakers rarely sell actually prints of their film, but artist filmmakers budget the sales of their film just as any painter of book makers or sculptor or print maker would.
Monday, April 5, 2010
Tribulation Lost article? - |ˌtribyəˈlā sh ən|
First, respond to Tribulation 99 in relation to Zryd's description of student responses in his own classes.
Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”
1. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why?
I cant seem to find the article??
Marc Masters, “The Offenders: No Wave Cinema”
2. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
No wave filmmakers were all about cheap and easy means of film production just as the punks were without their means of musically production. He campers the slide guitar to a super 8 camera. The musician and filmmakers were often untrained, and used each other mutually. Musicians would stand in as actors and the filmmakers would make music videos or documentary in the punk tradition for the musicians. The films were often made very quickly in a "run and gun" style much like the aggressive unpracticed punk music.
William Wees, “Peggy’s Playhouse: Contesting the Modernist Paradigm”
3. According to Wees, what are the 5 characteristics of the modernist paradigm dominating North American avant-garde filmmaking before the 1980s?
These characteristics include fluild handheld camera movement, slow motion, negative images , super imposition, extensive close ups and light and dark patterns.
4. Given the 5 characteristics above, how does Awhesh reject or question each of them (give examples from throughout the article). Awhesh wasn't about the idea of high art. He films were often improvisational. She even refers to herself and an under schemer. He films had the a ingrained raw type of feeling. He camera work was far from fluid, it was very jerky and spontaneous.
5. What does Ahwesh mean by rejecting the “aesthetics of mastery” and how is this related to punk filmmaking?
This is her way of saying shes not out there to make 'high art'. He films were that of a non-professional aestectic and style. The whole idea of punk was to go against the establishment, therefore punk film would in tern go against the established film doctrine as well.
6. Why does Wees argue that The Color of Love subverts conventional wisdom about mainstream pornography?
She said mainstream pornography revolves around the phallus, but Ahwesh forcuses this found footage around a flaccid penis. This symbolizes the stripping of power from the erect male penis and reducing it to be powerless.
7. In what ways does Awhesh transform images from Tomb Raider in She Puppet?
Awhesh attempts to resist the bang bang run run persona the is Laura Croft from the video game Tomb raider. She sublimeness the soundtrack with first person feminist literature and spoken word. As opposed to being able to control the character like in the video game Awhesh has planned out specifically where laura will go. This another way she takes the power away from the male dominated industry.
Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”
1. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why?
I cant seem to find the article??
Marc Masters, “The Offenders: No Wave Cinema”
2. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
No wave filmmakers were all about cheap and easy means of film production just as the punks were without their means of musically production. He campers the slide guitar to a super 8 camera. The musician and filmmakers were often untrained, and used each other mutually. Musicians would stand in as actors and the filmmakers would make music videos or documentary in the punk tradition for the musicians. The films were often made very quickly in a "run and gun" style much like the aggressive unpracticed punk music.
William Wees, “Peggy’s Playhouse: Contesting the Modernist Paradigm”
3. According to Wees, what are the 5 characteristics of the modernist paradigm dominating North American avant-garde filmmaking before the 1980s?
These characteristics include fluild handheld camera movement, slow motion, negative images , super imposition, extensive close ups and light and dark patterns.
4. Given the 5 characteristics above, how does Awhesh reject or question each of them (give examples from throughout the article). Awhesh wasn't about the idea of high art. He films were often improvisational. She even refers to herself and an under schemer. He films had the a ingrained raw type of feeling. He camera work was far from fluid, it was very jerky and spontaneous.
5. What does Ahwesh mean by rejecting the “aesthetics of mastery” and how is this related to punk filmmaking?
This is her way of saying shes not out there to make 'high art'. He films were that of a non-professional aestectic and style. The whole idea of punk was to go against the establishment, therefore punk film would in tern go against the established film doctrine as well.
6. Why does Wees argue that The Color of Love subverts conventional wisdom about mainstream pornography?
She said mainstream pornography revolves around the phallus, but Ahwesh forcuses this found footage around a flaccid penis. This symbolizes the stripping of power from the erect male penis and reducing it to be powerless.
7. In what ways does Awhesh transform images from Tomb Raider in She Puppet?
Awhesh attempts to resist the bang bang run run persona the is Laura Croft from the video game Tomb raider. She sublimeness the soundtrack with first person feminist literature and spoken word. As opposed to being able to control the character like in the video game Awhesh has planned out specifically where laura will go. This another way she takes the power away from the male dominated industry.
Monday, March 29, 2010
Lost Post - |ˈstrək ch ərəl| |film|
I thought I had posted these a while ago. Not sure how they never made it up on my blog.
2. How is structural film different from the tradition of Deren/Brakhage/Anger, and what are its four typical characteristics?
The modernist movement that Deren, Brakhage and Anger were a part of was more about representing dreams and vision. Structural is a "cinema of the mind father than the eye." The four formal properties of structural film are the fixed camera, loop printing, re-photography, and the flicker effect.
3. If Brakhage’s cinema emphasized metaphors of perception, vision, and body movement, what is the central metaphor of structural film? Hint: It fits into Sitney’s central argument about the American avant-garde that we have discussed previously in class
The techniques used in structural film are used to induce states of the mind. The metaphor is that of consciousness. Structural film still follows Sitney's argument about the American avant garde representing the human mind, just through different means than the modernist tradition.
4. Why does Sitney argue that Andy Warhol is the major precursor to the structural film?
Warhol as well as Fluxus (which was an influence of Warhol) techniques are the backbone of Structural film. Fixed camera and the idea of letting the film evolving in front of frame spontaneously are common techniques and themes in both.
5. The trickiest part of Sitney’s chapter is to understand the similarities and differences between Warhol and the structural filmmakers. He argues that Warhol in a sense is anti-Romantic and stands in opposition to the visionary tradition represented by psychodrama/mythopoeic/lyrical films. But for Sitney’s central argument to make sense, he needs to place structural film within the tradition of psychodrama/mythopoeic/lyrical films. Trace the steps in this argument by following the following questions: a. Why does Sitney call Warhol anti-Romantic?
Sitney says that wahol described himself as "anti-romantic", but what he means in the opposite of Abstract Expressionism, or almost a commentary on the whole romantic movement.
b. Why does Sitney argue that spiritually the distance between Warhol and structural filmmakers such as Michael Snow or Ernie Gehr cannot be reconciled?
c. What is meant by the phrase “conscious ontology of the viewing experience”? How does this relate to Warhol’s films? How does this relate to structural films?
Its the idea awareness to the viewing process in simple terms. Warhols films were often mean to be boring in order to allow one to become fixated on other aspects of the films. Screen Tests allowed the chance to study a person's face when attempting to be still. Structural films like wavelength used this idea with a slow zoom to allow the viewer to become aware of every detail in the mise-en-scene to the most extreme level.
d. Why does Sitney argue that structural film is related to the psychodrama/mythopoeic/lyrical tradition, and in fact responds to Warhol’s attack on that tradition by using Warhol’s own tactics? 6. What metaphor is crucial to Sitney’s and Annette Michelson’s interpretation of Michael Snow’s Wavelength?
The metaphor is that of all Structural film, consciousness. This idea of the film bingeing the mind rather than the eye is present in wavelength not only visually but audibly with its experimental soundscape.
2. How is structural film different from the tradition of Deren/Brakhage/Anger, and what are its four typical characteristics?
The modernist movement that Deren, Brakhage and Anger were a part of was more about representing dreams and vision. Structural is a "cinema of the mind father than the eye." The four formal properties of structural film are the fixed camera, loop printing, re-photography, and the flicker effect.
3. If Brakhage’s cinema emphasized metaphors of perception, vision, and body movement, what is the central metaphor of structural film? Hint: It fits into Sitney’s central argument about the American avant-garde that we have discussed previously in class
The techniques used in structural film are used to induce states of the mind. The metaphor is that of consciousness. Structural film still follows Sitney's argument about the American avant garde representing the human mind, just through different means than the modernist tradition.
4. Why does Sitney argue that Andy Warhol is the major precursor to the structural film?
Warhol as well as Fluxus (which was an influence of Warhol) techniques are the backbone of Structural film. Fixed camera and the idea of letting the film evolving in front of frame spontaneously are common techniques and themes in both.
5. The trickiest part of Sitney’s chapter is to understand the similarities and differences between Warhol and the structural filmmakers. He argues that Warhol in a sense is anti-Romantic and stands in opposition to the visionary tradition represented by psychodrama/mythopoeic/lyrical films. But for Sitney’s central argument to make sense, he needs to place structural film within the tradition of psychodrama/mythopoeic/lyrical films. Trace the steps in this argument by following the following questions: a. Why does Sitney call Warhol anti-Romantic?
Sitney says that wahol described himself as "anti-romantic", but what he means in the opposite of Abstract Expressionism, or almost a commentary on the whole romantic movement.
b. Why does Sitney argue that spiritually the distance between Warhol and structural filmmakers such as Michael Snow or Ernie Gehr cannot be reconciled?
c. What is meant by the phrase “conscious ontology of the viewing experience”? How does this relate to Warhol’s films? How does this relate to structural films?
Its the idea awareness to the viewing process in simple terms. Warhols films were often mean to be boring in order to allow one to become fixated on other aspects of the films. Screen Tests allowed the chance to study a person's face when attempting to be still. Structural films like wavelength used this idea with a slow zoom to allow the viewer to become aware of every detail in the mise-en-scene to the most extreme level.
d. Why does Sitney argue that structural film is related to the psychodrama/mythopoeic/lyrical tradition, and in fact responds to Warhol’s attack on that tradition by using Warhol’s own tactics? 6. What metaphor is crucial to Sitney’s and Annette Michelson’s interpretation of Michael Snow’s Wavelength?
The metaphor is that of all Structural film, consciousness. This idea of the film bingeing the mind rather than the eye is present in wavelength not only visually but audibly with its experimental soundscape.
Wednesday, March 17, 2010
Structural film part 1 - |ˈstrək ch ərəl|
2. Sitneys says structural film takes these previous concepts of film further into the human mind. Whereas Brahkage was trying to represent vision and Deren was trying to represent dreams, the structural film attempts to recreate consciousness (cinema of the mind rather than the eye). Characteristics include fixed camera, loop printing, re-photography, and the flicker effect.
3. I think sort of hit on this is the last answer. Brahkage’s camera is that of the eye, Structural film makes are one step further back into the brain. Structural film attempts to challenge the conciseness of its viewers through numerous aural and visual cues.
4. Warhol as well as the fluxus filmmakers used many of the same characteristics in their films, just to achieve different products. The filmmaking process was very similar (fixed camera/flicker film) and many fluxus filmmakers actually made their way into structural film in these early years.
( to be continued)
3. I think sort of hit on this is the last answer. Brahkage’s camera is that of the eye, Structural film makes are one step further back into the brain. Structural film attempts to challenge the conciseness of its viewers through numerous aural and visual cues.
4. Warhol as well as the fluxus filmmakers used many of the same characteristics in their films, just to achieve different products. The filmmaking process was very similar (fixed camera/flicker film) and many fluxus filmmakers actually made their way into structural film in these early years.
( to be continued)
Fuses - |ˈbyoōtē|
Fused may have been not only one of the most beautiful films i have ever seen but evoked the most intense emotional response i have ever experienced as well. The sex scene is an interesting thing to take about in conjunction with this film. Hollywood sex scene to me have always seemed so ridiculous in many ways. The music, the framing, the pacing, and then awkward choreographed off beat thrusting. There are few sex scene in the entirety of films I have seen that seem authentic in anyway (most seem to be French New Wave or Neorealist for what i can recall.) Fuses is an experimental documentary, so i guess that would give it so authenticity, but it still seems loosely narrative. There is clear beginning (foreplay) to climax to ending (cuddling) structure. To me the awkward or clumsy moments are the ones that make this film so real and emotional. Besides the fact that this film is manipulated and hand painted and such (which give it a scrap book, nostalgic kind of feeling), the camera work seems very sensory driven much like Brahkage's work. This idea of the camera being the eye of the protagonist comes in and out of this film. Some shots seem to be shot by the two partners who are engaging in the act and some seem to be voyeuristic (filmed by a third party/pornographic style.) The combination of the two types of footage give this internal external rhythm throughout the sexual experience. I think the used of a type of memory drive b-roll cut in and even layers sometimes is very interesting as well. I really loved it. the end.
Nostalgia - |näˈstaljə; nə-|
As I mentioned in class it took me a while to catch onto what was happening with this film. I'm not sure if this has to do with my physical state after traveling for 24 hours straight. I believe I was still trying comprehend the setting and photographs and image of them burning for a while before i started to pay attention to the voice over. Once i started to realized he was talking about the next picture coming up, the new factor made why slowly rotating mind work over time to comprehend what was happening. I remember thinking it was very simple in the beginning but by the end a was going through this complex process of anticipation. I think i was honestly most interested in the period of time when the voice over ended and the pictures remained on screen burning until it was unrecognizable. Before i realized that he was talking about the next picture i found it very arbitrary and boring. Once i figured out the pattern, this time became so important to the film. This gave me a chance to think about exactly what i was about to see. I found it soo interesting how much more important the waiting period was due to this structure.
(lawls) - |ˈidēət|
(lawls) - |ˈidēət|
Subscribe to:
Posts (Atom)
