1963 was a pivotal year in the history of avant-garde film in the United States. In Visionary Film, P. Adams Sitney calls it “the high point of the mythopoeic development within the American avant-garde.” He explains:
[Stan] Brakhage had finished and was exhibiting the first two sections of Dog Star Man by then; Jack Smith was still exhibiting the year-old Flaming Creatures; [Kenneth Anger‘s] Scorpio Rising appeared almost simultaneously with [Gregory Markopoulos‘s] Twice a Man. The shift from an interest in dreams and the erotic quest for the self to mythopoeia, and a wider interest in the collective unconscious occurred in the films of a number of major and independent artists.
(An inclusive list of American avant-garde films made/released in 1963 can be found here.)
On Christmas Day of 1963 began the weeklong third edition of Exprmntl, a competition of worldwide avant-garde films held in Knokke-le-Zoute, Belgium. The two previous Exprmntl competitions took place in 1949 and 1958. Exprmntl...
[Stan] Brakhage had finished and was exhibiting the first two sections of Dog Star Man by then; Jack Smith was still exhibiting the year-old Flaming Creatures; [Kenneth Anger‘s] Scorpio Rising appeared almost simultaneously with [Gregory Markopoulos‘s] Twice a Man. The shift from an interest in dreams and the erotic quest for the self to mythopoeia, and a wider interest in the collective unconscious occurred in the films of a number of major and independent artists.
(An inclusive list of American avant-garde films made/released in 1963 can be found here.)
On Christmas Day of 1963 began the weeklong third edition of Exprmntl, a competition of worldwide avant-garde films held in Knokke-le-Zoute, Belgium. The two previous Exprmntl competitions took place in 1949 and 1958. Exprmntl...
- 10/1/2017
- by Mike Everleth
- Underground Film Journal
Dawn City: Frozen Time“A place is thus an instantaneous configuration of positions. It implies an indication of stability. A space exists when one takes into consideration vectors of direction, velocities, and time variables… Every story is a travel story, a spatial practice."—Michel de Certeau, The Practice of Everyday LifeTime is the central tenet of all cinema. The impression of its passing is the enthralling illusion at the medium’s flickering heart; petrified images are reanimated by the whirr of the projector. Even at its most micro level cinema traverses the intersection of time and place, as the static location of a single picture is temporally transported before our eyes by the flurry of subsequent frames. On a macro level, that relationship and those concepts are no less pervasive or vital. In 2006, found footage filmmaker Bill Morrison told Senses of Cinema that: "for better or worse, the projector is...
- 11/29/2016
- MUBI
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.