1. What are some characteristics of the American psychodrama in the 1940s?
Psychodramas of the 40's through the 50's dealt with issues of sexual identity, dreams, dance, and ritual practices.
2. What does Sitney mean by an “imagist” structure replacing narrative structure in Choreography for the Camera?
Sitney describes this type of form as "isolating a single gesture as a complete film form. The idea is based of the poetic form of Imagism, and specifically it's dealings with movement.
3. According to Sitney, Ritual in Transfigured Time represents a transition between the psychodrama and what kind of film?
Ritual in Transfigured Time is a transition between a psychodrama and a trance film. Sitney says this is the beginning of the architectonic or mythopoeic form.
4. Respond briefly to Sitney’s reading of Ritual in Transfigured Time (27-28); Is his interpretation compatible with your experience of the film?
Clearly Sitney's interpretation is much more in-depth and researched than and film students first viewing of the film, but I did catch onto some of the concepts that he covered. I found the multiple views of the same action very interesting. Most would understand its a study in time by the title but the reversed/slowed/repeated actions really drive that into a viewers understanding of the film. I did not make the connection to cubism or what Sitney calls "cubism in time", but as an art student as well as a film major the idea really intrigues me.
Sitney, “The Magus”
5. Paraphrase the paragraph on p. 90 that begins “The filmic dream constituted…” in your own words.
I believe I have an older version of the book and cannot find the paragraph that starts this that phase. Sorry.
6. According to Sitney, what is the ultimate result at the end of Inauguration of the Pleasure Dome?
'All energy contain comes through the Magus.'
Scott MacDonald, “Cinema 16: Introduction”
7. What were some general tendencies in the programming at Cinema 16, and how were films arranged within individual programs?
Amos Vogel believed in juxapossitioning different forms styles and ideas. When putting together a program there would be elements of avant-garde, documentary,scientific and even education films to clash against each other's different natures.
8. What kinds of venues rented Kenneth Anger’s Fireworks?
Macdonald explains the the viewing of a film like Anger's Fireworks would be ridiculous to even consider in a convention movie house of its time (1947). Cinema 16 was a place where films like this could play without the censorship of New York City laws. Many other art houses followed suite within the next decade which allowed these films to be played under the radar of censorship.
9. What impact did Cinema 16 have on New York City film culture?
As mentioned earlier Cinema 16 inspired many other venues to battle censorship and play films that wouldn't be able to see the light of day in conventional movie theaters. Not only was Cinema 16 an exhibition venue, but it also distributed these film for home viewing before any other companies would produce these films. These two factors contributed to the growing avant-garde film community is NYC throughout the next 2 decades.
Hans Richter, “A History of the Avant-garde”
10. What conditions in Europe made the avant-garde film movement possible after World War I?
Richter describes the period fate the first World War as a climates of "social, political and cultural unrest." Inflation allowed new ideas to filter into popular culture and many artistic movement because to shape cinematography more extensively than any other period of film history even in comparison to the present.
11. If the goal of Impressionist art is “Nature Interpreted by Temperament,” what are the goals of abstract art?
The goal of abstract art is to find a way through a medium to express an over all feeling rather than the small scope of a individual's point of view. it was the idea getting rid of the uncontrolled and arbitrary stylistic choices.
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