Other Cinemas by Sue Clayton;Laura Mulvey;

Author:Sue Clayton;Laura Mulvey;
Language: eng
Format: epub
Publisher: Bloomsbury UK

Notes

1.Peter Gidal, ‘Technology and ideology in/through/and avant-garde film: an instance’, in T. de Lauretis and S. Heath, eds, The Cinematic Apparatus (London: Macmillan, 1980), pp. 151−65.

2.Sean Cubitt, ‘Foreword’, in Jackie Hatfield, ed., Experimental Film and Video (London: John Libbey, 2006), pp. viii−ix.

3.Pierre Bourdieu, ‘The field of cultural production’, in R. Johnson, ed., The Field of Cultural Production (London: Polity, 1993), pp. 29−73.

4.Laura Mulvey, ‘Looking at the past through the present: rethinking feminist film theory of the 1970s’, Signs 30:1 (2004), pp. 1286−92.

5.Raymond Williams, Problems in Materialism and Culture (London: Verso, 1980).

6.Michael O’Pray, The British Avant-Garde Film: 1926–1995 (Luton: University of Luton Press, 1996).

7.Hatfield, ed., Experimental Film and Video.

8.Peter Gidal, ‘Theory and definition of structural/materialist film’, in P. Gidal, ed., Structural Film Anthology (London: BFI, 1976), pp. 1−21.

9.For details, see David Curtis, ‘English avant-garde film: an early chronology’, Studio International 190:978 (November−December 1975), p. 177, Gidal, ‘Technology and ideology in/through/and avant-garde film: an instance’, pp. 151−65, Malcolm Le Grice, Abstract Film and Beyond (London: Studio Vista 1977).

10.Stephen Dwoskin, Film Is … (London: Peter Owen, 1977), p. 62.

11.Curtis, ‘English avant-garde film: an early chronology’, p. 177.

12.Raymond Durgnat, ‘Cooped in a co-op’, Art Monthly 151 (November 1991), pp. 24−5.

13.Curtis, ‘English avant-garde film: an early chronology’, p. 177.

14.Durgnat, ‘Cooped in a co-op’.

15.Gidal, ‘Technology and ideology in/through/and avant-garde film’, p. 151.

16.Dwoskin, Film Is …, p. 64.

17.Gidal, ‘Technology and ideology in/through/and avant-garde film’, p. 151.

18.Ibid., p. 154.

19.Dwoskin, Film Is …, p. 65.

20.Peter Gidal, ‘Letter on ontology’, Screen 17:2 (Summer 1976), p. 132.

21.Peter Gidal, ‘Theory and definition of structural/materialist film’, Studio International 193:985 (November−December 1975), pp. 189−96.

22.Louis Althusser, Lenin and Philosophy and Other Essays (London: New Left Books, 1971).

23.Benedict Anderson, Imagined Communities (London: Verso, 1991), p. 44.

24.Julia Knight and Peter Thomas, Reaching Audiences: Distribution and Promotion of Alternative Moving Image (London: Intellect, 2011), p. 269.

25.Michael Mazière (2009), ‘Institutional support for artist’s film and video in England, 1966−2003’, British Artists’ Film and Video Study Collection (1979), p. 15, http://www.studycollection.co.uk/maziere/paper.html, accessed 16 January 2016.

26.Curtis, A History of Artists’ Film and Video in Britain (London: BFI, 2007), p. 9.

27.Peter Thomas, ‘The struggle for funding: sponsorship, competition, and pacification’, Screen 47:4 (Winter 2006), p. 463.

28.Ibid., p. 464.

29.Duncan Reekie, Subversion: The Definitive History of Underground Cinema (London: Wallflower, 2007), p. 153.

30.Thomas, ‘The struggle’, p. 464.

31.Reekie, Subversion, p. 156.

32.Simon Hartog, ‘The BFI dossier who governs what?’, Cinim 3 (Spring 1969), p. 22.

33.Jonas Mekas, ‘Open letter to film-makers of the world’, Cinim 1 (1966), p. 7.

34.Peter Gidal, ‘Matter’s time time for material’, in Hatfield, ed., Experimental Film and Video, p. 24.

35.See Curtis, A History, and Barry Miles, The Sixties (London: Jonathan Cape, 2002).

36.Gidal, ‘Matter’s time’, p. 24.

37.Peter Gidal, ‘The anti-narrative’, Screen 20:2 (Summer 1979), pp. 73−93.

38.Jean-Paul Fargier, ‘Parenthesis or indirect route’, Screen 12:2 (Summer 1971), pp. 131−44, and Laura Mulvey, ‘Visual pleasure and narrative cinema’, Screen 16:3 (Autumn 1975), pp. 6−18.

39.Gidal, ‘Theory and definition’, pp. 1−21.

40.Curtis, A History, p. 27; Knight and Thomas, Reaching Audiences, p. 41.

41.Curtis, A History, p. 28.

42.Gidal, ‘Technology and ideology’, p. 153.

43.Gidal, ‘Theory and definition’, p. 15.

44.Ibid., p. 9.

45.Gidal, ‘The anti-narrative’, pp.

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