By P. Gaal-Holmes
This finished ancient account demonstrates the wealthy range in Nineteen Seventies British experimental filmmaking, appearing as a kind of reclamation for motion pictures and filmmakers marginalized inside tested histories. An fundamental e-book for practitioners, historians and critics alike, it offers new interpretations of this wealthy and various background.
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Extra resources for A History of 1970s Experimental Film: Britain’s Decade of Diversity
This ‘return’ to more representational forms of visual excess was identified as being a surplus of imagery sometimes arrived at through formal or technological procedures and content which might include multiple exposures, the use of images from popular culture sources, the prevalence of the human figure or an excessive use of colour. Or these films were simply personal films expressing individual responses to the world with images being recognisably figurative rather than abstract. L. Rees’s Tate symposium paper, ‘No Psychodrama Please, We’re British’ (2002), in which he identified film experimentation emerging from 1960s and 1970s British underground counterculture and film schools, with a particular focus: Aesthetics is a kind of ethics.
H. Carr and Hayden White, and in the 1990s by Keith Jenkins, provide useful considerations about the positioned nature of the historian. These approaches have informed an understanding of the vagaries of historical analysis in determining the impossibility of truly objective 14 A History of 1970s Experimental Film accounts of history. 5 Despite arguments for the reliability of sources as evidence, Jenkins also noted that the writing of history was never an impartial task – an unpositioned history – no matter how objectively a historian attended to the sources or intended the analysis to be: The empiricist claim – that one can detect bias and expunge it by attending scrupulously to ‘what the sources’ say – is undercut by the fact that sources are mute.
Before digitisation experimental films were also difficult to see as the following two examples indicate: D. N. 15 These details are significant for the way in which written texts about experimental film have dominated – and continue to in some respects – accounts of filmmaking. 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.
A History of 1970s Experimental Film: Britain’s Decade of Diversity by P. Gaal-Holmes