R.I.P. Mr. Tavel

Reading Response Eight

3. Filmmakers who influenced Poe, Mitchell and Dick include filmmakers of the new-wave movement, including Godard, Rohmer, Warhol, Truffant and all other influential artists of this era.

5. By "double voicing" Zryd means saying one thing and meaning another. For example, the ironic voice-over in the film contrasting with the image of the Chiquita banana label. Relating this technique to politics, Zryd describes the "demonizing" of leftist government in order to justify right wing operations. in relation, the film "Tribulation 99" uses the extreme racist conservative and Christian fundamentalist in order to illustrate the message of extreme left-wing ideals (thus "faking right, going left).

6. "Realist" found footage is usually found in mainstream documentary films. It is "illustrative or analogical." This is historical or archival footage that is usually overlapped by voice-over to reinforce the main argument. "Figurative" footage is metaphorical and is often used in experimental films. He does argue that all footage, in experimental or nonexperimental films, can be metaphorical and illustrative. Figurative footage is more important in "Tribulation 99" because most of it's images are symbolic and the footage is not historically from the events that might be being represented. For example, the use of a Chiquita banana label to represents economic priorities of corrupt corporations. A realist approach would be to actually show footage of these corporations.

7. "Media jujitsu" applies to the use of found footage as an icon to criticize the culture from which it came. When films use a symbol that represents a cultural icon in a certain way, they can be reversed to actually critique that very organization, etc. that it represents.

8. By including science documentaries, conservative conspiracy narratives, and fundamental Christian apocalypse films, Baldwin is not only criticizing extremist conspiracy groups, as well as making a statement that these groups are "distilled manifestations of extreme political positions," or the bases of U.S. political culture. He uses the example of right-wing militarism and it's roots in Christianity, with it's connections to American government and ideology.

Reading Response Seven

4a. Warhol calls himself an "anti-romantic," and Sitney agrees. Warhol practiced Abstract Expressionalism, which is normally a romantic genre. However, Sitney argues that Warhol's style was on a completely different level and was not romantic at all, rather it was a logical viewing experience that was meant to make the viewer perceive.

4b. Sitney argues that the poles between Warhol's style and that of Snow and Gehr cannot be reconciled because of the different meanings behind the camera movement (or lack there of). Their techniques are similar, but spirituality behind them is vastly different. Warhol started with a stationary camera, using zooms mainly, then moved to in-camera editing. The still camera work of Snow and Gehr is utilized for a different purpose. It is meant as a "mythical contemplation of a portion of space," meaning it's trying to get a different type of reflection from the viewer. Warhol's goals are much less romantic, promoting complete awareness and concentration on more logical activities.

4c. "Conscious ontology of the viewing experience" refers to, as Sitney puts it, Warhol's goal of challenging the viewer to endure a film for a very long time, all the while being completely aware of what's going happening onscreen. This is why Warhol showed some of his films at 16 fps when they were actually 24. The slightly slowed motion forces the viewer to sit through the entire experience, dissecting and studying the image(s) before him or her as if studying it to a science. This relates to structural films because, after Warhol introduced this technique, structural filmmakers had to take films like these and give them purpose. They made films that attempted to guide the viewer to an ending impression or goal.

4d. Sitney responds to Warhol's attack on structural films by describing Michael Snow's "Wavelength." He describes a 45 minute forward zoom in which a room in explored in great detail and duration. Activities outside are taking place and filters and effects are adding for style. The camera finally comes to rest on a photograph of waves. "The insight that space, and cinema by implication, is potential is an axiom of the structural film." Sitney is trying to show the difference between Warhol and Snow, and thus Warhol and structural film, by described Snow's need to illustrate some sort of message to the viewer. By closing in on this room and suggestion the outside world, then ending on a photograph that contains waves of a vast sea, Snow is portraying a message about space. Warhol would've made this film differently. There would have been no underlying message, no metaphors or deep meaning, only a deep, detailed inspection of this room and things going on outside of it. It would've been purely observatory, purely for perceptive purposes. This greatly contrasts the agenda of a structural film.

Reading Response Five

Mary Jordan Jack Smith and the Destruction of Atlantis
1. Jack Smith was obsessed with Maria Montez because she was the ultimate diva of her time. She wasn't know as an especially great actress, but to many others she represented something much more than an actress. She was a major icon in the gay community and because of her presence on screen, she became the idolization of drag queens. This makes sense when one views scene's from Cobra Woman, especially the scene where she commanding a huge crowd around her. She is walking around on stage in a glorious glittery dress and everyone below her is cheering as she commands them with her arms. This scene helped me understand Smith's obsession with her, and why he named Mario Montez after her.

2. During this time the art community gave the people something to live through. In the past films had been conservative, but with this new era, people were witnessing things on screen that they'd never seen, or been allowed to see. In the 60s, filmmakers like Smith allowed people to stop conforming, a spiritual awakening. White literally used trash from dumpsters to make his films.

3. Flaming Creatures was banned all over the country and it causes controversy between Jonas Mekas and Smith. Mekas used Smith's film to defend avant-garde films and fight censorship. Smith resented Mekas for this because he never wanted his film to be a symbol of defiance. Mekas made money from Smith's film, money that should've been Smith's. The saying "lobsterism," which means taking something for yourself came from this controversy.

4. John Zorn argues that the actual filmming of Normal Love should've been the film. It is argued that Smith opened the door to this whole new way of looking at things, this whole new way of filmmaking, and Warhol and other filmmakers wouldn't have been able to create without him. He himself states that what he made was "real magic"; his films were more real than documentaries. It seems Smith was in it for the right reasons, to put it simply.

5. Smith was arguably more true to himself than Warhol. Andy Warhol was a more commercial than Smith. He was "part of the club" whereas Smith was in a league (and universe) of his own. Andy owes all his famous followers to Smith, who made them superstars to begin with. Jack and Andy clashed because Jack wanted to have control, but Andy collaborated with him in order to stay on people's good sides. Jack resented Warhol because Andy was a capitalistic artist, a manufacturer. Jack felt that those two couldn't go hand in hand; he looked down upon artists who sacrificed their personal visions for popular aesthetics. He wasn't against making money, but he was against what filmmaker's like Warhol were willing to give up in order to do so.

6. Jack decided that if he didn't make any more masterpieces, no one could take them for themselves. In order for a film to remain truly his, he was going to have to go with it everywhere. Jack did everything himself: editing, playing the music at the viewings, etc. It was all him. He even spliced Normal Life live. This way, he resisted commodification and the film was all his, no products, just art.

Reading Response Four

Yoko Ono: "One"

I must admit, I've never been a fan of Yoko Ono's work. However, I do have a certain respect for pieces like this one. There is a certain scientific fascination that attracts me to films like this one, as well as the one we watched in class with the butts. Pushing aside all the symbolic mumbo jumbo that some might try to attach to a film like this one, it is surprisingly interesting to watch the process of a burning match from start to finish. I almost feel like this film should be shown in a chemistry class rather than an avant-garde one. While watching "One" I really have no desire to read about why it was made or what it symbolizes (if anything). As something I would never think to watch all the way through live, I'd rather just appreciate the process of the burning match on screen...I think Brakhage might appreciate this outlook.

Paul Sharits "Wrist Trick"

This film was awesome! Short, sweet and mind boggling. It reminded me of an ink blot test or a shadow puppet show...there's so many different interpretations of the images shown. I feel like I could watch it ten times and get different ideas each time. Some images I saw the first few times include: a rabbit, beetle, banana, bull, bird, etc. I love to watch it in slow motion, but I think that might defeat the purpose of the film.

Sitney

2. Jonas Mekas originally turned up his nose at avant-garde...until he discovered the mythopoeic film genre. He somewhat relates to Brakhage in that he felt that filmmakers should be more concerned with the emotions in regards to human nature, rather than the technical aspects of the filmmaking process. Therefore, he didn't much appreciate the avant-garde films of the 1950s. However, with the arrival of the French New Wave ("nouvelle vague") and realism films, he began to have an open mind and respect for new films, and ones that he had earlier pushed aside. A new supporter of avant-garde films, Mekas eventually opened up a company for distributing films for those who were interested.

4. Both Smith ("Flaming Creatures") and Cornell ("Rose Hobart") utilize footage from other films (not necessarily found footage) to rise above need for conventional films to have a clear narrative agenda. With the combination of surrealism, sexuality, and careful editing, they break free of any narrative altogether, making them prime examples of the surrealist film.

5. The graphic sexuality of the "Flaming Creatures" is greatly emphasized by the exotic locations where they take place, the rhythmic editing, original textures and extensive lighting techniques.

Andy Warhol

6. Angell states that Warhol's early films were mostly silent minimalistic works. To me they sound similar to the works of Yoko Ono that I've seen so far, like filming a man sleeping for 5 hours ("Sleep") or 8 hours of the Empire State Building ("Empire"). Although they were rarely viewed, they were prime examples of Warhol's ability to turn the everyday experiences and items into art.

7. "Screen Tests" was shot in the Factory. Over time Warhol filmed 500 people, including artists, filmmakers, writers, critics, etc. who were instructed to be as motionless as possible. Basically, the film became a "guest book" that showed the respectable people who had visited the Factory. Since the subjects were as still as possible, it became somewhat of a photo album of legitimacy, a visual resume/reference list for Warhol.

8. Warhol's first sound film was "Harlot," and the soundtrack was improvised off-screen dialogue. The addition of sound to his films made for more "finished" products. His sound films were like the full experience, an in-depth representation of each act being filmed. "Vinyl" is another example of these films. It is based on "A Clockwork Orange" and actors weren't allowed to learn their lines, but rather had to recite them from cue cards off-screen. Anything that happened with image or sound was natural, unplanned. The addition of sound only enhanced Warhol's vision of giving the viewer the full experience.

Reading Response Three

1. Brakhage believes in the experience of the vision, rather than the actuality of what the viewer witnesses. He basically states that there is much more to the viewing experience than simply what is physically seen. Mentally and emotionally, there is just as much going on in a human's mind when he/she watches a film, and Brakhage urges viewers to focus on discovering that side of the experience.

2. In Sitney's opinion, Brakhage was the first of all the avant-garde filmmakers to actually make films in the abstract expressionist style. Before him, other artists claimed to work in this style, but they were clearly still too influenced by conventional filmmaking. Brakhage truly opened the doors to a new way of watching film (as discussed above).

3. Synechdoche plays a major role in "The End" because there were specific decisions made by the filmmaker that represent the film as a whole. For example, the ellipsis. By themselves, they are somewhat insignificant. However, with particular stylistic decisions, they guide the viewer to an understanding of the conclusion of the film.

4. From what I gathered, MacLaine is a bit more intense than Connor. Both represent the downfall of the human race, but MacLaine does so much more blatantly. Both filmmakers allow the viewer to have his or her own experience with the film. While watching, one strives to find meaning behind the images, and surely everyone will take something different from it. I think both artists would approve of this.

5. Nelson and Rice's films are difficult to reach conclusions from. Sitney states that the films usually are representative of larger themes, but it may take some knowledge of the filmmakers in order for the viewer to be able to decode the messages.

6. Fluxfilms were basically mockeries of the avant-garde movement. Dadaists especially, rebelled against who they thought were pretentious filmmakers by making films that were seemingly avant-garde. However, these films had no depth or hidden meanings (unlike those of Brakhage). They were compilations of random images thrown together, and although they might be visually pleasing in some cases, the filmmakers didn't mean for there to be any meaning behind them.

7. "Democratizing" the production means to steal a director's thunder in a way. It means taking someone's creation and style and reproducing it to make it seem unoriginal.

8. "Zen for Film" was made in a very minimalistic way so that people who are not part of the elite can afford to make films too. All one would need to make a film was a roll of it. People didn't even need cameras to make a piece of art. This opened up doors for new filmmakers and helped destroy the pretention that formally came with avant-garde filmmaking.

1. After World War I, the world was left in panic and unease. People wanted change and they revolted. This led to a new era that broke free of tradition and former norms, which allowed avant garde films to flourish. People wanted something different in their lives, and they were left open minded about that something being a very bizarre genre of filmmaking. Avant garde films were like a revolution in themselves for a civilization that was tired of the same old same old.

2. Abstract art began with Cubism. This was an artistic style that strove to express the basic elements that made up an object, rather than it's natural appearance and traits. Abstract art evolved into something that sought to capture a universal feeling rather than an individual perception. Despite it's connotation, abstract art is more about control than anything. To capture the essentials of an object and break it down, if you will, into an emotion that is truly asthetic...that's the main goal of abstract art.

3. Fischinger states that conventional films, like Hollywood blockbusters, lack artistic creativeness. Of course, being a film major, I'd have to disagree with him or my whole college career would mean nothing to me. However, I do see what he is trying to say. Much like Richter's definition of abstract art, Fischinger argues that avant garde films dig deeper. Where conventional films show the world as it is seen normally, experimental films strive to express the feelings and creative forces that are beyond the surface. He also states that true art is made by one individual, and that is the only way the creation can be pure. When working with a production team and crew, the wholy pure idea is broken down with each person who contributes until it is but a piece of it's original creative potential.

4. I was a little bit confused with this section of the reading, but I did gather what I hope is a basic understanding for what Sitney was trying to say. I think the main reason Sitney believes "Reflections on Black" anticipates a lyrical film is because of the "visions" that this blind man has. One aspect of a lyrical film is that the protagonist is understandably the one behind the camera, and although it sounds like the blind man is shown, a majority of the film is through his "eyes" or thoughts. Brakhage was slowly bridging the gap between imagination and reality. The film is an example of the protagonist's search for consciousness, and all these aspects make it a film that is teetering on the edge of a new type of avant garde filmmaking, lyrical.

5. Characteristics of a lyrical film include:
~ The person behind the camera is the protagonist of the film, and everything is seen from his point of view.
~ The viewer is made aware of the filmmaker's presence, and his/her reactions to what is being seen. This is often expressed with movement, either of the camera or in editing, to express that that protagonist is looking.
~ The protagonist is passive, there is no hero.
~ Like Abstract Expressionst painting, the space is flat. Depth and different perspectives are possible through superimposition, but are used sparingly.
~ The filmmaker uses the camera, not like a window, but in taking on this flatness, more like a painting on a palette, which he/she is a part of.

6. Brakhage was greatly influenced by his friend and fellow filmmaker, Marie Menken. He incorporated her habits of including herself in her films as filmmaker and protagonist, a characteristic of lyrical films. She would have her hand come into the frame from behind the camera, and he incorporated similar techinques to make himself a presence in his own creation.