[Frameworks] Looking for writing on cinema and the body

[Mark Toscano]

some random films that come to mind, particularly including some lesser known ones I think might be fairly interesting on this topic…

DEAD RECKONING (1980) by David Wilson
FIELD (1970), GLIDER (2001), SIDE/WALK/SHUTTLE (1991), and PRECARIOUS GARDEN (2004) by Ernie Gehr
FM / TRCS (1974) by Coleen Fitzgibbon
FUTURE PERFECT (1978) and VICARIOUS THRILLS (ca.1979) by Roberta Friedman & Grahame Weinbren
THE MAN WHO COULD NOT SEE FAR ENOUGH (1981) by Peter Rose
HOTEL CARTOGRAPH (1983) by Scott Stark (and plenty of others, really)
IN ORDER NOT TO BE HERE (2001) by Deborah Stratman could be an interesting take on this
WAVELENGTH (1967), <-> (1969), BREAKFAST (1976), and others by Michael Snow.  LA REGION CENTRALE (1971) would certainly be one to consider.
TRAVELLING MATTE (1971) and ORDINARY MATTER (1972) by Hollis Frampton
THE GIRL CHEWING GUM (1976) by John Smith
WARUM HAST DU MICH WACHGEKÜSST? (1967) by Hellmuth Costard
LIVING (1971) by Frans Zwartjes

Some of Kurt Kren’s work may be of interest.  There’re the Actionist films, but also stuff like 36/78 Rischart; 5/62 Fenstergucker, Abfall, etc.;  …

Marie Menken’s work is definitely characterized by her particular quality of jittery hand-held shooting.  GO GO GO is on the NFPF Treasures IV DVD.

Ben Van Meter’s 1960s work such as SF TRIPS FESTIVAL – AN OPENING (1967), OLDS-MO-BILE (1965), and UP TIGHT… L.A. IS BURNING… SHIT (1965) all reflect a very free-floating hand-held shooting aesthetic, usually featuring multi-layered in-camera superimpositions to boot.  These works of his are intensely first-person subjective and unpredictable.

The amazing John Porter has a whole series of works that emphasize, in many ways, his body and eye behind the camera.  His extensive website is the best place to read more:
http://www.super8porter.ca/

Chick Strand’s work is often characterized by telephoto cinematography of very close up gestures and intimate spaces, making you fairly aware of her presence behind the camera.  Check out Fake Fruit Factory on the Treasures IV DVD to get an idea, but there are plenty more.

Will Hindle’s films also do a fair amount to reinforce the sense of there being an artist’s body and mind behind the camera – his techniques and approaches foreground this to a strong degree, and make no effort to hide the sense that these are films made BY someone, whose physical and psychological presence is very vividly felt at all times.  I would in particular check out Watersmith (1969) and his lesser-known, but fantastic 29: Merci Merci (1966).  But pretty much any of his films have these qualities.  

Joe Gibbons often films himself from a camera in his outstretched hand – some of the PXLVision films definitely do this, like His Master’s Voice.  

Lots by Saul Levine.

hope this of use,

Mark Toscano

--- On Fri, 3/4/11, Jon Perez <jonmperez at gmail.com> wrote:

From: Jon Perez <jonmperez at gmail.com>
Subject: [Frameworks] Looking for writing on cinema and the body
To: frameworks at jonasmekasfilms.com
Date: Friday, March 4, 2011, 3:16 PM

Hey all,
I'm in the beginning stages of my thesis and I'm looking for any/all writing concerning the relationship between the body and the camera and Brakhage's "untutored eye."  I understand that this is vague but I'm interested in any iteration of these concepts.

I'm also looking for films where the physicality of the body operating the camera becomes central to perceiving the film, like in the films of Phillipe Grandrieux for example.

thanks for the help,
Jon Perez



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