Week 6

1. What changes in the American avant-garde are associated with the rise of structural film and the creation of Anthology Film Archives in 1970? How does these changes affect:
First there was the institutionalization of the Avant-Garde, these films were being shown in theaters and known for their midnight runs. The media was also beginning to acknowledge these films by writing or talking about them in their magazines. Not just Mekas but others such as: Popular Photography, Newsweek, New York Times and even a saturation of Pull my Daisies in Mad Magazine.
a. The participants (filmmakers, critics) in the avant-garde community?

Movies were being shown in Universities thanks mainly to the new academic practice of Film Studies as well as the creation of the Anthology Film Archives. Films were They created a program of certain filmmakers and famous avant-garde films (mainly by structuralist). Many filmmakers were brought into classes to speak, even the ones who had been left out of the mainstream underground began to appear again for lectures and screenings.
b. Canon formation (which films are considered “important,” and taught in classes).

The important films were the structuralist films which were just beginning as well as the films which were famous from the Avant-Garde beginnings. I don't think it comes right out and says which were important but I believe they were talking about mainly the films we have been watching all semester such as Meshes, Anger, Brakhage, mainly films from each different form of the Underground film and the new structuralist filmmakers.
c. Distribution and exhibition practices.

They would be distributed through the filmmakers corporative which distributed to film societies, exhibitors, individuals and universities.

2. Briefly explain the debate between autonomy and engagement within the avant-garde. How does this debate play out in the 1980s?

I think it was that many filmmakers were scared of being shown in universities to show learning students. It was also a debate about the filmmakers who were "idolized" by professors and those filmmakers who were left out of the curriculum. Teaching Avant-Garde was also raising the expectations of these films. Young minds were learning about this stuff making filmmakers scared about making new material that they may not approve of. I don't know if this is what you were looking for but just let me know.

3. What are the negative aesthetic connotations of the “academic avant-garde film”? What is the major critique from new filmmakers who emerged in the 1980s?

Only certain films were shown in Universities, I understand why as a student because their is not enough time to cover all of the most important people in the Avant-Garde movement. Filmmakers of the eighties were getting upset because the underground was losing what it was based on. People were accepting the Underground films and their wasn't a fight or a passion to make these films and get them seen. I guess the filmmakers of the eighties thought that the passion of the emergence of Avant-Garde in America was lost once people began to teach it in schools and show certain films regularly.

4. What are the five legacies of the academicization of the avant-garde?

1. THe maintencace of distribution of co-ops as the classroom became the dominatnt site of exhibition.

2. Recongnalization as centers of Avant-Garde film activity expanded beyond New York

3. Publication mechanisms for the writing of the history, criticism and theory of the Avant-Garde

4. Employment for Filmmakers as faculty or technical personal

5. Development of the 2nd generation students became filmmakers, critics, teachers, programmers and archivist.

5. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.

1. The bands would switch instruments that they played, and the No Wavers would switch roles. One day you may direct, and the next you may be acting. They just switched it all around.

2. They both used their friends to make their artistic product.

3. They both played and screened their films at the same kind of venues.

6. What were the exhibition venues for punk/no-wave films such as those by Beth B. and Scott B., and how did the venues affect film content and style?

They screened their work in rock clubs such as CBGB's and Mark's Kansas City and would show their films in between the different bands who were playing. The atmosphere of these clubs included people who were smoking drinking and talking. And if their films grabbed their attention the filmmakers believed that they had allowed the viewers to participate in the film. The people watching the film were not afraid to let the filmmakers know if they liked the film or not. It was sort of an active viewing experience.

7. What are some similarities and differences between the American avant-garde we have studied so far and the Punk or No Wave filmmaking in the late 1970s? Address the following areas:

a. Aesthetic similarities and differences (which filmmakers do the cite as influences, which filmmakers do they reject?) Poe especially liked the new directors such as Godard and Truffaut. Others enjoyed Warhol especially his film Vinyl. I don't remember reading about any the rejected. I do remember that Poe wanted to make films with elements of other films in it. This is what Godard did with many of his films. He would take a little from all the films he liked and combine it into his film.

b. Technological similarities and differences

Both groups used cheap equipment. Warhol would just turn on the camera and shoot. Punks used a super 8 camera and were able to record sound as they were filming.

c. Economic similarities and differences
worked on low budgets. However, they gradually had bigger budgets for their films. Subway riders was made for 50,000, and Vortex was made for 70,000. So eventually they went from making films with little budgets to making films with bigger budgets than they ever thought could happen.

d. Social similarities and differences

Some of the Punks wanted to make a New New Wave. Getting people to react the way they did to the French New Wave. The Punks would show their films anywhere .

8. In what ways does Friedrich “break the rules” in terms of mixing filmmaking practices? How have different critics approached her different films? What kinds of avant-garde sub-genres has she explored?

Friedrich did not want to be tied down and decided to stay away from the normal mode of filmmaking. Instead of sticking with one genre or idea she would mix genres without any regrets. Many of her critics would try to tie her down to one label, but that would be impossible. She has made a film in every type of film we have studied in class so far. The trance film, structuralist, just to name a few.

9. What are some of the distinguishing characteristics of “Sink or Swim”?

The film has 26 scenes one for each letter of the alphabet, but instead of going from A to Z she goes Z to A. Each scene is suppose to elaborate on a childhood memory of Friedrich. Some of the scenes are silent while others are narrated. This is the most written about film of Friedrich's and is for certain about the filmmakers memories as a child.