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Alternative Projections: Experimental Film in Los Angeles, 1945-1980 Alternative Projections: Experimental Film in Los Angeles, 1945-1980

David E. James and Adam Hyman (eds)

David E. James and Adam Hyman (eds)

£33.00

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The growing recognition that Los Angeles has been the single most important center for avant-garde, experimental, and minority filmmaking has provided the ground for a number of recent historiographical, curatorial, and institutional initiatives. Chief among these was an extended collaborative project undertaken by the Los Angeles Filmforum, an independent screening organization that has existed continuously since 1975, together with the Getty Foundation s Pacific Standard Time: Art in L.A. 1945 1980, and the University of Southern California s School of Cinematic Arts and its Arts and Humanities Initiative, Visions and Voices . Its first accomplishment was a three-day symposium featuring scholarly presentations, screenings, and discussions with filmmakers held at USC in November 2010, followed the next year by a screening series of some three hundred films and videos, many of them newly discovered and/ or restored by the Academy of Motion Pictures. Concurrently Filmforum under- took an archival research project consisting of nearly forty videotaped and transcribed oral histories conducted with filmmakers. Alternative Projections: Experimental Film In Los Angeles, 1945 1980 is a ground-breaking anthology that brings the conference papers together with specifically commissioned essays, an account of the screening series, reprints of historical documents by and about experimental filmmakers in the region, and other rare photographs and ephemera. With contributions from scholars, graduate students, archivists, curators, and filmmakers from three continents, the resulting diverse and multi-voiced collection radically extends film historiography. It is of great importance, not simply for its relevance to Los Angeles, but also for its general discoveries and projections about alternative cinemas.

Table of Contents

Acknowledgements

Foreword - Adam Hyman

Introduction - David E James

Part I: Historical Materials

Introduction - David E James

Distribution Centre for Experimental Films - Curtis Harrington

Personal Chronicle: The Making of an Experimental Film - Curtis Harrington

A Letter from the West Coast - Robert Pike

Amateur vs. Professional - Maya Deren

Personal State Meant - John Fles

A Statement - Curtis Harrington

Are Movies Junk - John Fles

Los Angeles Film Festival - Jack Hirschman

Seeing Is Believing - John Fles

Underground Movies Rise to the Surface - Kevin Thomas

Students Reflect Future of Cinema - Gene Youngblood

Woman as Ethnographic Filmmaker - Chick Strand

Mouse Enigma: Auto-History Of A Film Person - Peter Mays

Part II: Scholarship

Introduction - David E James

Scarlet Woman on Film: Inauguration of the Pleasure Dome and The Wormwood Star Kenneth Anger, Curtis Harrington, Marjorie Cameron, and Los Angeles Alternative Film and Culture in the Early 1950s - Alice Hutchinson

Against Transparancy: Jonas Mekas, Vernon Zimmerman, and the West Coast Contribution to the New American Cinema - Josh Guilford

Vicarious Vicario: Restocking John Vicario's Forgotten Shoppers Market (1963) - Ken Eisenstein

Raymond Rohauer and the Society of Cinema Arts (1948-1962): Giving the Devil His Due - Tim Lanza

For Love and/or Money: Exhibiting Avant-Garde Film in Los Angeles 1960-1980 - Alison Kozberg

Kent Mackenzie's The Exiles: Reinventing the Real of Cinema - Ross Lipman

Taylor Mead, a Faggot in Venice Beach in 1961 - Marc Siegel

Ed Ruscha's Moving Pictures - Matt Reynolds

Asco's Super-8 Cinema and the Spectre of Muralism - Jesse Lerner

Inner-city Symphony: Water Ritual #1: An Urban Rite of Purification - Veena Harihara

Not Just a Day Job: Experimental Filmmakers and the Special Effects Industry in the 1970s and 1980s - Julie Turnock

Storm, Stress and Structure: The Collaborative Cinema of Roberta Friedman and Grahame Weinbren - Juan Carlos Kase

Nun Notes and Deviant Longings - Erika Suderburg

Currents Direct and Alternating: Water and Power and Other Works by Pat O'Neill - Grahame Weinbren

Part III: Screenings

Alternative Projections Screening Series - Adam Hyman

Program Notes

Notes on Contributors

Index

 

 

 

 

About the Editor(s)

David E. James is on the faculty of the School of Cinematic Arts at the University of Southern California. His books include The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (University of California Press, 2006). Along with several collections of essays on avant-garde filmmakers, he edited The Sons and Daughters of Los: Culture and Community in LA (Temple University Press, 2003). Adam Hyman has been Executive Director and Programmer for Los Angeles Filmforum since 2003. He is also a documentary filmmaker, producing and/or writing a variety of historical and archaeological documentaries that have aired on the PBS, the History Channel, the Learning Channel, and others.

The growing recognition that Los Angeles has been the single most important center for avant-garde, experimental, and minority filmmaking has provided the ground for a number of recent historiographical, curatorial, and institutional initiatives. Chief among these was an extended collaborative project undertaken by the Los Angeles Filmforum, an independent screening organization that has existed continuously since 1975, together with the Getty Foundation s Pacific Standard Time: Art in L.A. 1945 1980, and the University of Southern California s School of Cinematic Arts and its Arts and Humanities Initiative, Visions and Voices . Its first accomplishment was a three-day symposium featuring scholarly presentations, screenings, and discussions with filmmakers held at USC in November 2010, followed the next year by a screening series of some three hundred films and videos, many of them newly discovered and/ or restored by the Academy of Motion Pictures. Concurrently Filmforum under- took an archival research project consisting of nearly forty videotaped and transcribed oral histories conducted with filmmakers. Alternative Projections: Experimental Film In Los Angeles, 1945 1980 is a ground-breaking anthology that brings the conference papers together with specifically commissioned essays, an account of the screening series, reprints of historical documents by and about experimental filmmakers in the region, and other rare photographs and ephemera. With contributions from scholars, graduate students, archivists, curators, and filmmakers from three continents, the resulting diverse and multi-voiced collection radically extends film historiography. It is of great importance, not simply for its relevance to Los Angeles, but also for its general discoveries and projections about alternative cinemas.

Table of Contents

Acknowledgements

Foreword - Adam Hyman

Introduction - David E James

Part I: Historical Materials

Introduction - David E James

Distribution Centre for Experimental Films - Curtis Harrington

Personal Chronicle: The Making of an Experimental Film - Curtis Harrington

A Letter from the West Coast - Robert Pike

Amateur vs. Professional - Maya Deren

Personal State Meant - John Fles

A Statement - Curtis Harrington

Are Movies Junk - John Fles

Los Angeles Film Festival - Jack Hirschman

Seeing Is Believing - John Fles

Underground Movies Rise to the Surface - Kevin Thomas

Students Reflect Future of Cinema - Gene Youngblood

Woman as Ethnographic Filmmaker - Chick Strand

Mouse Enigma: Auto-History Of A Film Person - Peter Mays

Part II: Scholarship

Introduction - David E James

Scarlet Woman on Film: Inauguration of the Pleasure Dome and The Wormwood Star Kenneth Anger, Curtis Harrington, Marjorie Cameron, and Los Angeles Alternative Film and Culture in the Early 1950s - Alice Hutchinson

Against Transparancy: Jonas Mekas, Vernon Zimmerman, and the West Coast Contribution to the New American Cinema - Josh Guilford

Vicarious Vicario: Restocking John Vicario's Forgotten Shoppers Market (1963) - Ken Eisenstein

Raymond Rohauer and the Society of Cinema Arts (1948-1962): Giving the Devil His Due - Tim Lanza

For Love and/or Money: Exhibiting Avant-Garde Film in Los Angeles 1960-1980 - Alison Kozberg

Kent Mackenzie's The Exiles: Reinventing the Real of Cinema - Ross Lipman

Taylor Mead, a Faggot in Venice Beach in 1961 - Marc Siegel

Ed Ruscha's Moving Pictures - Matt Reynolds

Asco's Super-8 Cinema and the Spectre of Muralism - Jesse Lerner

Inner-city Symphony: Water Ritual #1: An Urban Rite of Purification - Veena Harihara

Not Just a Day Job: Experimental Filmmakers and the Special Effects Industry in the 1970s and 1980s - Julie Turnock

Storm, Stress and Structure: The Collaborative Cinema of Roberta Friedman and Grahame Weinbren - Juan Carlos Kase

Nun Notes and Deviant Longings - Erika Suderburg

Currents Direct and Alternating: Water and Power and Other Works by Pat O'Neill - Grahame Weinbren

Part III: Screenings

Alternative Projections Screening Series - Adam Hyman

Program Notes

Notes on Contributors

Index

 

 

 

 

About the Editor(s)

David E. James is on the faculty of the School of Cinematic Arts at the University of Southern California. His books include The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (University of California Press, 2006). Along with several collections of essays on avant-garde filmmakers, he edited The Sons and Daughters of Los: Culture and Community in LA (Temple University Press, 2003). Adam Hyman has been Executive Director and Programmer for Los Angeles Filmforum since 2003. He is also a documentary filmmaker, producing and/or writing a variety of historical and archaeological documentaries that have aired on the PBS, the History Channel, the Learning Channel, and others.

Additional Info

Additional Info

SKU 9780861967155
Publisher(s) John Libbey & Co Ltd
Editor(s) James, David E; Hyman, Adam
Format Paperback
Original publication date 13 Mar 2015
Number of pages 320 pages

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