--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.
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