Other Cinemas by Sue Clayton;Laura Mulvey;
Author:Sue Clayton;Laura Mulvey;
Language: eng
Format: epub
Publisher: Bloomsbury UK
Notes
1.Peter Gidal, âTechnology and ideology in/through/and avant-garde film: an instanceâ, in T. de Lauretis and S. Heath, eds, The Cinematic Apparatus (London: Macmillan, 1980), pp. 151â65.
2.Sean Cubitt, âForewordâ, in Jackie Hatfield, ed., Experimental Film and Video (London: John Libbey, 2006), pp. viiiâix.
3.Pierre Bourdieu, âThe field of cultural productionâ, in R. Johnson, ed., The Field of Cultural Production (London: Polity, 1993), pp. 29â73.
4.Laura Mulvey, âLooking at the past through the present: rethinking feminist film theory of the 1970sâ, Signs 30:1 (2004), pp. 1286â92.
5.Raymond Williams, Problems in Materialism and Culture (London: Verso, 1980).
6.Michael OâPray, The British Avant-Garde Film: 1926â1995 (Luton: University of Luton Press, 1996).
7.Hatfield, ed., Experimental Film and Video.
8.Peter Gidal, âTheory and definition of structural/materialist filmâ, in P. Gidal, ed., Structural Film Anthology (London: BFI, 1976), pp. 1â21.
9.For details, see David Curtis, âEnglish avant-garde film: an early chronologyâ, Studio International 190:978 (NovemberâDecember 1975), p. 177, Gidal, âTechnology and ideology in/through/and avant-garde film: an instanceâ, pp. 151â65, Malcolm Le Grice, Abstract Film and Beyond (London: Studio Vista 1977).
10.Stephen Dwoskin, Film Is ⦠(London: Peter Owen, 1977), p. 62.
11.Curtis, âEnglish avant-garde film: an early chronologyâ, p. 177.
12.Raymond Durgnat, âCooped in a co-opâ, Art Monthly 151 (November 1991), pp. 24â5.
13.Curtis, âEnglish avant-garde film: an early chronologyâ, p. 177.
14.Durgnat, âCooped in a co-opâ.
15.Gidal, âTechnology and ideology in/through/and avant-garde filmâ, p. 151.
16.Dwoskin, Film Is â¦, p. 64.
17.Gidal, âTechnology and ideology in/through/and avant-garde filmâ, p. 151.
18.Ibid., p. 154.
19.Dwoskin, Film Is â¦, p. 65.
20.Peter Gidal, âLetter on ontologyâ, Screen 17:2 (Summer 1976), p. 132.
21.Peter Gidal, âTheory and definition of structural/materialist filmâ, Studio International 193:985 (NovemberâDecember 1975), pp. 189â96.
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), âInstitutional support for artistâs film and video in England, 1966â2003â, British Artistsâ 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 Artistsâ Film and Video in Britain (London: BFI, 2007), p. 9.
27.Peter Thomas, âThe struggle for funding: sponsorship, competition, and pacificationâ, 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, âThe struggleâ, p. 464.
31.Reekie, Subversion, p. 156.
32.Simon Hartog, âThe BFI dossier who governs what?â, Cinim 3 (Spring 1969), p. 22.
33.Jonas Mekas, âOpen letter to film-makers of the worldâ, Cinim 1 (1966), p. 7.
34.Peter Gidal, âMatterâs time time for materialâ, 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, âMatterâs timeâ, p. 24.
37.Peter Gidal, âThe anti-narrativeâ, Screen 20:2 (Summer 1979), pp. 73â93.
38.Jean-Paul Fargier, âParenthesis or indirect routeâ, Screen 12:2 (Summer 1971), pp. 131â44, and Laura Mulvey, âVisual pleasure and narrative cinemaâ, Screen 16:3 (Autumn 1975), pp. 6â18.
39.Gidal, âTheory and definitionâ, pp. 1â21.
40.Curtis, A History, p. 27; Knight and Thomas, Reaching Audiences, p. 41.
41.Curtis, A History, p. 28.
42.Gidal, âTechnology and ideologyâ, p. 153.
43.Gidal, âTheory and definitionâ, p. 15.
44.Ibid., p. 9.
45.Gidal, âThe anti-narrativeâ, pp.
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