Ray Privett & James Kreul, “A Cinema of Possibilities: Brian Frye Interview”
--How does Frye relate his work (including his film programming) to the following movements / concepts / genres:
Performance (and performance art)He, in a way, parodies the idea of performance art, by not really doing anything. Like in Brian Frye Fails to Masturbate.
Minimalism - He doesn't view his work as minimalism, because he puts a lot of effort into creating dense scenes.
Fluxus- He emphasizes performance for performance sake.
--How does Frye respond to the question about what he “adds” to films such as Anatomy of Melancholy? Letting the films do what they set out to do.
Scott MacDonald, “Maintenance”
--What are some of the reasons for rental income growth at Canyon Cinema between 1980 and 2003? How did Canyon distinguish itself from the Filmmakers Cooperative and the Museum of Modern Art? There was more interest from the increasing student sector of the avant garde community. Canyon did more to update their collection.
--What problems and controversies did video distribution cause for Canyon in the 1990s? To what degree were the sides of the debate related to the age of the filmmakers on each side? Based upon the interview with Dominic Angerame at the end of the chapter, what was his position on the video debate? Well, most older customers prefer the original format film. While the younger ones don't mind so much video. Angerame just wants Canyon to keep distributing videos.
--What were the advantages and disadvantages to funding from the National Endowment from the Arts? What controversies developed related to the publication of Canyon Cinema Catalog #5? You have a steady source of funding, but there is the possibility that you will have to curtail your selection to someone elses opinions of the films. This happened when the government objected to some of the films and removed the funding.
Monday, April 19, 2010
Monday, April 12, 2010
April 12th
Reading Response 9: Due April 12
Miranda July's piece was strange definitely, but really awesome and interesting to watch. The narrative was hard to grasp and put together, but the emotions I felt during my viewing of the piece complement that. I was confused, nervous, and scared during the film, which I believe was in line with the character of the piece. The animation was fun to watch, and the projected video behind the performer worked well. Not as perfectly as earlier pieces, but good none the less. July's performance was very emphasized, in order to reach the entire audience.
Catching up from last week: Christie Milliken, "The Pixel Visions of Sadie Benning"
1. How is Sadie Benning's work related to general trends and characteristics in Riot Grrl subculture? Its got that lofi quality to it. Its subversive and promotes women (particularly the groups who are ignored.) How is Riot Grrl subculture similar to and different from punk subculture? Riot Grrrl subculture started out of magazines and seems to be more focused on promoting a political agenda for girls then punk culture was on promoting any kind of political agenda.
2. Why does Milliken refer to Benning's work as visual essays? What are the advantages of viewing the work in relation to this genre? What is meant by "radical feminist essayistic" form? The film cannot easibly be catagorized as a documentary, or a ficiton and that they are very expressive which seperates the work from the documentary tradition. Radical feminist essayist form means that the film doesn't attempt to answer problems but merely brings up their questions in an attempt to change the way things are.
Keller and Ward, "Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster"
3. What has changed in the gallery art world that allows Barney to describe his work as “sculpture”? In other words, how has the definition of sculpture changed since the 1960s, and why? Well the definition of sculpture has become more relaxed. When a cutout of a trench in the desert was determined to be sculpture that opened the floodgates as to what scuplture is. Barney sees his film as a family of objects.
4. Tricky but important question: Why was minimalist sculpture seen as a reaction against the “modernist hymns to the purity and specificity of aesthetic experience”? In other words: Why do they say that minimalist sculpture is post-modernist? Minimimalism brings the viewer into the art. The purpose of minimalism is to say that the viewers perception of the art is highly related to the art.
5. Describe the role of the body in the works of Vito Acconci and Chris Burden. You may wish to consult the following links to supplement the descriptions in the readings: The body is the focus of the work. It's the object that the artist sculpts, and then its the object that the audience reacts to. Similar to a performance piece.
http://www.ubu.com/film/acconci.html
http://www.ubu.com/film/burden.html
5. In the opinion of the authors, what are the key differences between performance art of the 1960s/1970s and Barney’s Cremaster cycle? What do they mean by the term "blockbuster" in relation to the gallery art world? There is a lot of marketing and overhead which is kind of strange for the art world.
Walley, "Modes of Film Practice in the Avant-Garde"
6. What is meant by “mode of film practice”? Give two well known examples of non-experimental modes of film practice. Why does Walley argue that the concept of the mode of film practice can help distinguish between the experimental film and gallery art worlds? Just the guidelines for how the film is produced. Types include studio era hollywood, and French new wave. How the film production is financed plays a crucial role.
7. What are some of the key differences between the experimental and gallery art worlds in terms of production and distribution? The experimental films are more often than not more personal, independent works while the art gallery work is more collaborative. In the art gallery world the prints are editioned.
Posted by jimbosuave at 9:31 AM 0 comments
Miranda July's piece was strange definitely, but really awesome and interesting to watch. The narrative was hard to grasp and put together, but the emotions I felt during my viewing of the piece complement that. I was confused, nervous, and scared during the film, which I believe was in line with the character of the piece. The animation was fun to watch, and the projected video behind the performer worked well. Not as perfectly as earlier pieces, but good none the less. July's performance was very emphasized, in order to reach the entire audience.
Catching up from last week: Christie Milliken, "The Pixel Visions of Sadie Benning"
1. How is Sadie Benning's work related to general trends and characteristics in Riot Grrl subculture? Its got that lofi quality to it. Its subversive and promotes women (particularly the groups who are ignored.) How is Riot Grrl subculture similar to and different from punk subculture? Riot Grrrl subculture started out of magazines and seems to be more focused on promoting a political agenda for girls then punk culture was on promoting any kind of political agenda.
2. Why does Milliken refer to Benning's work as visual essays? What are the advantages of viewing the work in relation to this genre? What is meant by "radical feminist essayistic" form? The film cannot easibly be catagorized as a documentary, or a ficiton and that they are very expressive which seperates the work from the documentary tradition. Radical feminist essayist form means that the film doesn't attempt to answer problems but merely brings up their questions in an attempt to change the way things are.
Keller and Ward, "Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster"
3. What has changed in the gallery art world that allows Barney to describe his work as “sculpture”? In other words, how has the definition of sculpture changed since the 1960s, and why? Well the definition of sculpture has become more relaxed. When a cutout of a trench in the desert was determined to be sculpture that opened the floodgates as to what scuplture is. Barney sees his film as a family of objects.
4. Tricky but important question: Why was minimalist sculpture seen as a reaction against the “modernist hymns to the purity and specificity of aesthetic experience”? In other words: Why do they say that minimalist sculpture is post-modernist? Minimimalism brings the viewer into the art. The purpose of minimalism is to say that the viewers perception of the art is highly related to the art.
5. Describe the role of the body in the works of Vito Acconci and Chris Burden. You may wish to consult the following links to supplement the descriptions in the readings: The body is the focus of the work. It's the object that the artist sculpts, and then its the object that the audience reacts to. Similar to a performance piece.
http://www.ubu.com/film/acconci.html
http://www.ubu.com/film/burden.html
5. In the opinion of the authors, what are the key differences between performance art of the 1960s/1970s and Barney’s Cremaster cycle? What do they mean by the term "blockbuster" in relation to the gallery art world? There is a lot of marketing and overhead which is kind of strange for the art world.
Walley, "Modes of Film Practice in the Avant-Garde"
6. What is meant by “mode of film practice”? Give two well known examples of non-experimental modes of film practice. Why does Walley argue that the concept of the mode of film practice can help distinguish between the experimental film and gallery art worlds? Just the guidelines for how the film is produced. Types include studio era hollywood, and French new wave. How the film production is financed plays a crucial role.
7. What are some of the key differences between the experimental and gallery art worlds in terms of production and distribution? The experimental films are more often than not more personal, independent works while the art gallery work is more collaborative. In the art gallery world the prints are editioned.
Posted by jimbosuave at 9:31 AM 0 comments
April 5th, Coming Soon
First, respond to Tribulation 99 in relation to Zryd's description of student responses in his own classes.
Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”
1. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why? the realist footage shows real events, and the figurative is only graphic representations of things. Pharoah for Castro.
Marc Masters, “The Offenders: No Wave Cinema”
2. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
Going out and doing it, not learning particular medium, angry sensibilities.
William Wees, “Peggy’s Playhouse: Contesting the Modernist Paradigm”
3. According to Wees, what are the 5 characteristics of the modernist paradigm dominating North American avant-garde filmmaking before the 1980s? Medium specificity, unique sensibilities of the artist, universal significance, disctinction of high art vs low art, and the autonomy of art
4. Given the 5 characteristics above, how does Awhesh reject or question each of them (give examples from throughout the article).
5. What does Ahwesh mean by rejecting the “aesthetics of mastery” and how is this related to punk filmmaking? doesnt force a particular viewpoint on the film
6. Why does Wees argue that The Color of Love subverts conventional wisdom about mainstream pornography?
7. In what ways does Awhesh transform images from Tomb Raider in She Puppet?
she shoes croft going about the fictional world
First, respond to Tribulation 99 in relation to Zryd's description of student responses in his own classes.
Michael Zryd, “Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99”
1. Explain Paul Arthur's distinction between the "realist" use of found footage and the "figurative" use of found footage. Which becomes important in Tribulation 99 and why? the realist footage shows real events, and the figurative is only graphic representations of things. Pharoah for Castro.
Marc Masters, “The Offenders: No Wave Cinema”
2. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
Going out and doing it, not learning particular medium, angry sensibilities.
William Wees, “Peggy’s Playhouse: Contesting the Modernist Paradigm”
3. According to Wees, what are the 5 characteristics of the modernist paradigm dominating North American avant-garde filmmaking before the 1980s? Medium specificity, unique sensibilities of the artist, universal significance, disctinction of high art vs low art, and the autonomy of art
4. Given the 5 characteristics above, how does Awhesh reject or question each of them (give examples from throughout the article).
5. What does Ahwesh mean by rejecting the “aesthetics of mastery” and how is this related to punk filmmaking? doesnt force a particular viewpoint on the film
6. Why does Wees argue that The Color of Love subverts conventional wisdom about mainstream pornography?
7. In what ways does Awhesh transform images from Tomb Raider in She Puppet?
she shoes croft going about the fictional world
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