[Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?

[nicky.hamlyn at talktalk.net]

I showed Wavelength yesterday to first year Fine Art students. It's  a very tough introduction to a/g film, a real plunge into the deep end. It really annoys and baffles some, but enthuses others, but it always stimulates debate in a way that few other films can. For these reasons and others, it's essential,

Nicky. 
 

 

 

-----Original Message-----
From: Peter Mudie <peter.mudie at uwa.edu.au>
To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
Sent: Sat, 28 Mar 2015 2:38
Subject: Re: [Frameworks] What are the 3 Essential Films that you would show Artists on their first foray into the Moving Image Realm ?


Wavelength (Snow, 1967); Zorns Lemma (Frampton, 1970); Arnulf Rainer
(Kubelka, 1960) - in that order.
Peter
(Perth)

On 28/03/2015 9:47 am, "Bernard Roddy" <roddybp at yahoo.com> wrote:

>I taught an introductory course in which I framed things under the
>terms "underground," "avant-garde," "studio-art video," "video as
>technology," "documentary," and a concluding section called "film
>culture" (histories of organizing, concluding with Cashmere's Incite
>issue devoted to exhibition).
>
>1. For underground we get Amos Vogel and are allowed relatively populist
>clips.
>2. For avant-garde we get Scott MacDonald and the classics of his
>early text, Avant-Garde Film (which is really useful to keep us in the
>history game, since there's that initial link in MacDonald to the
>split identified in Kracauer's Theory of Film, the "formative" and the
>"realist" tendencies).
>3. For studio-art video we get Catherine Elwes, who can position body-
>and gender-oriented video nicely into a context with Paik.
>4. For video as technology we get Yvonne Spielmann, who has a notion
>of "experimental" with respect to video that is about signals, not
>frames or even images.  This is essential to talk about Steina.
>5. For documentary we have a chapter from Renov and a chapter from
>Marks.  Renov can get us Saddie Benning.
>6. I found the "film culture" to be the most useful for introducting
>the Austrian work, like Kren's.  Hans Scheugle's text in
>Tscherkassky's volume ensures that we have some context for the
>"expanded" of cinema art.
>
>Bernie
>
>On Fri, Mar 27, 2015 at 1:56 PM, Gene Youngblood <atopia at comcast.net>
>wrote:
>> Three is a severe limitation, but if you insist, one way to get at it
>>is to
>> start not with films but with major traditions since mid-century and
>>select
>> exemplary works within them. So for example abstract (Brakhage),
>>minimalist
>> (Warhol, Wavelength), essayistic (Marker, Farocki, Forgacs). I include
>> Brakhage¹s lens-captured films in the problematic ³abstract."
>>
>>
>>
>> On Mar 27, 2015, at 11:43 AM, Donal OCeilleachair <donaloc42 at gmail.com>
>> wrote:
>>
>> Dear Frameworkers:
>>
>> I am working on a new film project with the Ealaíontóirí Mhuscraí
>> (that's Irish for the Muskerry Region Artists Group)
>>
>> Part of the project will involve film / video making workshops where I
>>will
>> show
>> them works from experimental film, creative documentary and artists'
>>moving
>> image works
>> as a point of reference and inspiration for their own initial
>>explorations
>> into the realm of the moving image
>>
>> I am compiling a short-list of 'Essential' works to show them during
>>these
>> workshops
>> and I would appreciate responses to the question:
>> 'What are the 3 Essential Films that you would show Artists
>> on their first foray into the Moving Image Realm ?'
>>
>> I look forward to hearing any suggestions
>>
>> Le míle buíochas (with many thanks)
>> --
>> Dónal Ó'Céilleachair
>> www.anupictures.com
>>
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