Professional Documents
Culture Documents
Direct Theory
Experimental Film/Video As Major Genre
Edward S. Small
To and with
my wife,
Ruth
Contents
Illustrations xi
Preface xiii
1. Experimental Film/Video as Direct Theory 1
2. Experimental Film/Video as Major Genre 12
3. The European Avant-Garde 24
4. The American Avant-Garde and the American Underground 39
5. Expanded Cinema and Visionary Film 60
6. Experimental Video 82
Notes 107
Select Bibliography 115
Index 117
Illustrations
Plates
3.1. Symphony Diagonal 28
3.2. Rhythmus 21 30
3.3. "Rayograms" 32
4.1. H2O 41
4.2. Begone Dull Care 47
4.3. A Movie 58
5.1. Yantra 65
5.2. Pasadena Freeway Stills 73
5.3. Alpha Mandala 76
5.4. Print Generation 79
6.1. Video Weavings 92
6.2. Hearts 95
Figures
2.1. Major genres 17
3.1. EAG's city symphonies 35
4.1. American avant-garde 45
5.1. Experimental's genres and subcategories 81
6.1. Campus's first "transition" 90
Preface
This is a book of theory. It is also a book of history because I am convinced that only a diachronic regard for experimental film/
video provides proper appreciation for the works that will be discussed in the following chapters. This conviction comes from
over two decades of teaching university undergraduate and graduate studentsmost of them film/video majorsabout experimental
production. With few exceptions, my students depended upon a historical survey for any real insights into the distinct forms and
functions that characterize this major genre's development from the 1920s to the present day. In a sense, these remarkable works
comprise a dialogue one with the other, an intertextual investigation of highly theoretical issues that currently spans seven
decades. However, in both casesas either theory or historythis book must be selective.
The historical selectivity that follows is the product of two simple factors. One is personal. Out of the countless experimental
productions available to contemporary scholars, I have chosen to examine those I know best and believe best exemplify my
thesis of direct theory. (Even here, I have had to select and reject, ignore and overlook, a great many significant artists and titles
for the sake of proportion.) The other historiographic factor is also simple. With the exception of some reconfigurations (and in
some cases retitling) of genres, plus the more innovative melding of cinematographic and electronic technologies, little that
follows will attempt any real revision of extant historical regards. That is, I have employed what might well be called a
canonical history of experimental production, a synthesis of established accounts by Sheldon Renan, David Curtis, Standish
Lawder, Malcolm Le Grice, P. Adams Sitney, and Gene Youngblood. These
1
Experimental Film/Video as Direct Theory
Contemporary film/video curricula and pedagogy recognize a dichotomy between coursework in production and coursework in
three scholarly areas: criticism, history, and theory. To be sure, these same distinctions are often served by overlapped
boundaries. Production skills can inform critical skills, for example, which can reciprocally inform creativity. Likewise, few
historical analyses are completely removed from critical and/or theoretical concerns. (We will see this quite clearly when we
attend to the historical surveys of Renan, Curtis, Lawder, Le Grice, et al.) Such overlap is particularly prominent between the
areas of criticism and theory, especially today when most academic criticism rests upon explicit or implicit theoretical
methodologies.
Nonetheless, pure theory remains distinct from most criticism. Criticism's concern is typically the explication and evaluation of
select film/video texts. Theory, in contrast, typically employs select aspects of various film/video texts in order to explicate
general qualities, in order to help us delineate those elements and functions that are intrinsic and extrinsic to the medium under
analysis. As Dudley Andrew's The Major Film Theories suggests, "The goal, then, of film theory is to formulate a schematic
notion of the capacity of film." 1
Especially in its classic period, film theory is a very well delineated body of literature. Following the pioneer efforts of Hugo
Munsterberg's The Photoplay: A Psychological Study and Vachel Lindsay's The Art
2
Experimental Film/Video as Major Genre
Experimental productions at once suffer and enjoy a marginal position throughout the history of film/video scholarship. While
these productions constitute a remarkably coherent genre, that genre remains a remarkably overlooked one. However this same
marginality provides a peculiar site, an especially heuristic vantage from which to question a number of critical concepts that
have marked the history of film/video scholarship. Just as Western music's arbitrary traditions become clearer from the
oppositional contrast of Indian music, or just as Western philosophy is more readily deconstructed from the distinct perspectives
of Indo-Asian philosophy, so too can established critical concepts of cinema and television be examined and interrogated from
experimental film/video's marginality, Indeed, this vantage is similar to MacDonald's concept of "a critical cinema."
The most interesting and useful film-critical insights of recent years, it could be argued, have been coming not from the
continuing elaborations of auteurism and genre studies or from the systematic application of recent French theory to
popular film, but from that remarkable body of North American films known variously as "underground film," "the New
American Cinema," "experimental cinema," and "avant-garde cinema.'' Many if not most of the filmmakers loosely
designated by such terms explicitly and implicitly view the domi-
Figure 2.1.
Major genres.
lish. These curiosities can be seen both as exceptions that make the rule and as paradoxes that promise privileged insights into
the entire issue of human categorical activity. With such combined limitation and resource in mind, I offer eight provisional
characteristics for the form experimental film/video, characteristics that underlie the basic articulation presented in figure 2.1.
The first of these is related to that critical mainstay with which I began this chapter. Currently, film and video are most often
considered essentially collaborative arts. This regard has raised the complex issue of auteur credit, credit comparable to that
which we provide poets, novelists, painters, and composers of music. However, experimental production has always been
marked by a significant number of independent artists such as the filmmaker Stan Brakhage or the contemporary video artist Bill
Viola who remain fully responsible for each and every aspect of their productionfrom conception to scripting, through shooting
and editing, and often into distribution, By "fully responsible" I do not mean directorial control of these various components. I
do not mean ensemble work under auteur direction. My concern is genuine acollaborative control in which the artist performs
each component task.
3
The European Avant-Garde
The European avant-garde (EAG) has become a common film-history label for that body of experimental production realized
by a number of fine artists on the European continent who turned to the cinema as an extension of their work in painting,
sculpture, and other media during the decade of the 1920s. In the main, these artists operated in France and Germany under no
real organization other than shared concerns with then-contemporary aesthetic movements like cubism, dadaism, futurism, or
surrealism.
Partly because of these painterly premises, contemporary film historiography has chosen to differentiate the EAG from a
concomitant body of European cinematic innovation equally characterized by a fascination with the powers of editing. This
chronologically parallel movement is often termed Russian formalism to designate the far more collaborative, industrialized,
narrative work of such Soviet filmmakers as Kuleshov, Pudovkin, and the very famous Sergei Eisenstein whose well-published
written theory championed the powers and promises of editing under that term of his own coinage: montage.
Eisenstein's writings were at once explications of his actual production (e.g., Battleship Potemkin and October) as well as
prescriptions and proscriptions for future productions. In spite of earlier, pioneer efforts in written film theory (Hugo
Munsterberg's The Film: A Psychological Study and Vachel Lindsay's The Art of the Moving Picture were both published in
New York City in 1916) one can readily argue
Plate 3.1.
Symphony Diagonal (c. 1922) by Viking Eggeling.
Plate 3.2.
Rhythmus 21 (1921) by Hans Richter.
Plate 3.3.
"Rayograms" (1926) by Man Ray.
Figure 3.1.
EAG's city symphonies.
documentary as well as historians of the EAG. These City Symphonies straddle the boundary separating the actuality and
experimental major genres (see figure 3.1), thus providing us another curiosity like the docudramas that questioned and
deconstructed the boundary separating the actuality and fictive narrative major genres.
The retained realism of Ivens's impressionistic sketch of Amsterdam, or the synaesthetic montage portraits of Paris (by
Cavalcanti) and Berlin (by Ruttman), or Vertov's day-in-the-life of a Kino Pravda cinematographer's highly reflexive tour of
Moscow (with its bionic comparisons between camera eye and human eye) constitute valuable insights for any revisionist genre
theory. These works also reveal a minor realist extension of the EAG beyond its more typical base in such then-current fine art
movements as dada, cubism, and surrealism. Renan would come to claim Rain (which he dates 1928), Cavalcanti's Nothing but
the hours and Ruttman's Berlin as avant-garde
4
The American Avant-Garde and the American Underground
It is convenient to posit a precise end for EAG production with the advent of the Great Depression followed by a sudden
flourish of sometimes fresh, sometimes derivative work in the United States. Yet certain concomitant productions preclude such
consideration. As Curtis notes, "America's first avant-garde film was Charles Sheeler's and Paul Strand's Manhatta, an isolated
attempt made as early as 1921." 1 Curtis's choice of the qualification isolated is, however, quite telling. Whereas the EAG's
body of production is so extensive as to make the titles discussed in chapter 3 but a bare sample, the American avant-garde
(AAG) evidences no comparable largess. For the decade of the 1920s, few United States experimental productions likely
survive, and only speculation would suggest that future film histories will eventually evidence many others. In 1928, Robert
Florey's The Life and Death of 9413A Hollywood Extra did provide an experimental homage to that movement of the fictive
feature today called German Cinematic Expressionism. But we must wait for the decade of the 1940s before we see any real
flourish in the AAG.
Among the exceptions to this generalization is, again, Sheeler and Strand's Manhatta. Silent, less than ten minutes long,
independently produced and distinctly nonnarrative, the film's aesthetic is far more dependent upon still photography and lyric
poetry than the EAG's affinity for painting or musical structures. Indeed, Manhatta's quiet photodocumentary images of New
York City are organized according
Plate 4.1.
H2O (1929) by Ralph Steiner.
sensorium. The text's thesis is designed to repudiate a quoted denigration of cinema: "Film cannot be art, for it does nothing but
reproduce reality mechanically." 3 Detailing cinema's "reduction of depth," or then-common "absence of color" and "silence," or
the delimitation of the camera's frame, and especially the contrast between our real-world phenomenology where ''[t]ime and
space are continuous" versus the power of montage, Arnheim's repeated thesis is clear: "Art begins where mechanical
reproduction leaves off."4 Here, Arnheim's position is but an elaboration of the Russian formalists, following Eisenstein, who
championed not an aesthetic of reproduction but an aesthetic of transformation.
It is noteworthy that just as we cannot truly truncate the EAG at
Figure 4.1.
American avant-garde.
far more collaborative in their constructionalso depend upon cinematic surrogates for this most common kind of mental image:
the dream. Like Meshes of the Afternoon, Fragment and Fireworks were independently produced, brief (each runs less than
twenty minutes), and avoid verbal language (each film's silent actions are set against a simple music background).
Homosexuality is the self-revelation for both Harrington and Anger who self-act their core roles.
With the exception of this then-taboo topic in commercial cinema as well as such narrative fragmentation as jump-cut editing,
these otherwise remarkable works provide only modest insights into reflexivity. (As a result, they join lyric realist and
expressionist works as somewhat peripheral to our core concern of direct theory.) To be sure, Meshes, Fragments, and
Fireworks intertextually reveal as quite arbitrary the certainly well-established forms of Hollywood narrative, but they do so in a
manner less thorough than later experimental film/video works that we will examine. In this regard, consider John Hanhardt's
American Federation of Arts essay on the American avantgarde film, which clearly addresses reflexivity and implies genuine
cinematic discourse.
The avant-garde continues to explore the physical properties of film, and the nature of the perceptual transaction which
takes place between viewer and film. It challenges theories of film [such as those of Kracauer and Bazin] which posit as
its
Plate 4.2.
Begone Dull Care (1949) by Norman McLaren. Courtesy
of the National Film Board of Canada.
Plate 4.3.
A Movie (1958) by Brace Conner.
Carmen D'Avino, Ed Emshwiller, Ken Jacobs, Larry Jordan, Stanton Kaye, the Kuchar brothers, George Landow, Gregory
Markopoulos, Jonas Mekas (whose Diary-Folk Films characterize an especially interesting subcategory), 28 Marie Menken,
Robert Nelson, Ron Rice, Harry Smith, Stan Vanderbeek, and lack Smith remain for other studies. (These studies could also
provide finer articulation of subcategories
5
Expanded Cinema and Visionary Film
Sheldon Renan's pioneer study concludes with a chapter anticipating a "whole new area of film and film-like art ... expanded
cinema." 1 Approximately three years later, Gene Youngblood's book Expanded Cinema came to continue documentation of the
explosive growth of experimental film/video's affinity for technologic innovations:
If one considers the introduction of sound then color as successive "generations" in the history of cinema, it is possible to
say that we've entered the fourth generation by marrying basic cinematic techniques to computer and video sciences.
There have been no fundamental breakthroughs in the nature of cinema since its conception. In one sense the history of
film is but a footnote to Lumiere and Melies. But the technological revolution begins the new age of cinema.2
As Youngblood maintains when discussing the complex, pyrotechnic printer films of Pat O'Neill, "New tools generate new
images."3 That is to say Expanded Cinema's special attention to the confluence of cinema's mechanical-chemical properties and
those far more electronic properties dependent upon video and computers is at once part and parcel of experimental film/video's
characteristic affinity for increased technological innovation. It also continues an inextricably interrelated devotion to
constructions beyond the bounds of most cinema's somewhat parasitic relation to narrative. To help clarify this
Plate 5.1.
Yantra (1957) by James Whitney.
(where a video camera is pointed at its own monitor to achieve a seemingly infinite electronic regress of images); by canting the
camera forty-five degrees, mandala images are created, a curious technostructural artifact intrinsically and reflexively related to
the video circuitry. Likewise, Jordan Belson's Allures (1961) fills its nine minutes of projection with a diversity of mandala
structures.
Belson's methods of construction are not reflexive in the way that OFFON's constructions are. Whereas Bartlett is wont to reveal
the potentially seamless boundary of his CRT displays, Belson's far more subtly mixed employ of oscilloscopes, step printers,
animation, and real-time cinematographic captures of rotating mandalic forms tends rather to disguise his methods. Allures's
reflexivity is, instead, intertextual; it exists in contradistinction to the comparable absence of these otherwise omnipresent,
archetypal forms in not only fictive features and documentaries but even other genres of experimental film/video.
It is again difficult to call such imagery "abstract" for the same reasons that it would be difficult to call the seemingly
nonrepresentational imagery of Brakhage's Prelude abstract. "I first have to see the images somewhere," [Belson] says, "within
or without or somewhere. I mean I don't make them up." 10 Further, such quite esoteric works as OFFON or Yantra or Allures
are not without evidence of our
Plate 5.2.
Pasadena Freeway Stills (1979) by Gary Beydler. Courtesy of
The American Federation of Arts.
(some six minutes later) with the color image of a pane of glass upon which is a simple, taped rectangle. A man's torso enters
the frame (in real time); the man sits and his hands begin to place and replace a series of black-and-white still photos within the
3 x 4 aspect ratio of the rectangle (see plate 5.2). The film begins an ever-increasing montage that removes more and more of
this same, repeated action by a series of increasingly abbreviated jump-cuts, until the unmoving camera is reduced to single-
frame capture of each still. Somewhere, sometime during this progression, Stills exchanges montage for animation as audience
attention is drawn toward the interior frame's black-and-white drive through tunnels on the Pasadena Freeway. The animation is
highly reflexive as we witness the man's comparatively dynamic (i.e., unmatched) hand positions as he holds each still in place;
indeed, at one point, the film (accidentally?) slips back into montage, deconstructing the otherwise rigorously executed design.
Symmetrically, Stills ends with increased frames (shooting on two's, three's, etc.) until weagain, somewhere/sometimereturn to
rapid jump-cuts followed by longer takes until the final, real-time shot of the man: who restands and exits the fixed frame.
Potentially an empirically testable conjecture, I would suspect that
Plate 5.3.
Alpha Mandala (1972)
by Joseph Anderson and Edward
Small.
frame essence to be able to grasp the vast theoretical implications of its elusive exchange of montage for animation. But more
general audiences can grasp the work's shape nonetheless; they can (during the film's projection) more or less anticipate the
overall structureand this general grasp is not unconnected with some seminal, fundamental insights into the nature of animation
and montage. Thus both works evidence quintessential reflexivity and provide far more sophisticated examples of direct theory
than selections from earlier genres.
Sitney's qualification that such works can ''modify" his four structural characteristics will become progressively valuable as we
witness the influence of minimalist-structuralist aesthetic strategies upon ex-
Plate 5.4.
Print Generation (1974) by J. J. Murphy.
Photo courtesy of J. J. Murphy.
film itself begins with images so impoverished, so depleted of information, that some time passes before even our sample
generations of the "Hardwick Dry Cleaners," the "group of young boys," the "man sawing a log," or the ''woman walking in a
backyard" become as clear (i.e., as near first generation) as they are in plate 5.4. Again, as the images become progressively
clear, the sound becomes progressively impoverished. After the film's center, the alternate image generations (i.e., 2-4-6-8-10,
etc.) return to greater and greater obscurity (while the sound generations cycle to greater and greater clarity).
When Sitney wrote that the "great challenge ... of the structural film became how to orchestrate duration," 34 his trope,
"orchestrate," could prove misleading. While the entire history of experimental film/
Figure 5.1.
Experimental's genres and subcategories.
commonality between mechanochemical and electronic constructions of moving images by implying that their (present)
similarities are as interesting and as instructive as are their differences. Similarity is particularly pronounced when we compare
either form to theater or novels, painting or musicor any other artwork predicated upon distant semiotic systems. But film and
video's far more similar semiotic systems constitute a special bonding. While this same insight is also available from the
application of systemically specific analytic tools like Zettl's "secondary and tertiary motion" or Metz's grande syntagmatique,
36 a the more immediate resource of reflexivity also directly reveals that video is not lust another (quicker, easier, cheaper) way
of doing the same thing. Indeed, the reflexivity that we will examine in the next chapter explores not only film/video similarities
butperhaps far more important for future decadestheir often subtle differences as well.
6
Experimental Video
During the decade of the 1980s, a great many experimental films continued to be made by both established artists like Brakhage
and newer, younger artists who are often products of the hundreds of college and university classes devoted to filmmaking that
have become established since the 1960s. However, the extraordinary flourish of experimental film we witnessed during the
1960s and early 1970s has long-since peaked. So pronounced is this reduction in quantity (and perhaps to some extent quality,
especially in regard to issues of innovation) that, informally, some film scholars have been wont to suggest that the entire
experimental endeavor is either moribund or already dead. One of this chapter's tasks is to argue against that suggestion. While
my argument is not a complex one, I am puzzled as to why the plethora of experimental video productions that I will draw upon
to support it remains largely overlooked by those academic historians, critics, and theorists who have devoted themselves to our
major genre.
Recall that one of the eight characteristics of this major genre has been a particular affinity for technological innovation.
Youngblood's concept of expanded cinema was greatly predicated upon this affinity's eventual embrace of electronic devices,
both video and computer systems (which are typically interconnected with cathode ray tube displays). To be sure, much
minimalist-structuralist production began as a sort of counterbalance to expanded cinema's ever-increasing technological
complexity. However, video's multiannual gains in reliability, ease of operation, and quite stunning economic advantage have
Figure 6.1.
Campus's first "transition."
image (which the chroma key matte progressively uncovers as the cream is applied). Campus uses the monitor to keep both
heads lined up. Finally, the last transition is a close-up of Campus's face on a piece of paper (again electronically keyed to a
videotape input): as he burns the paper, his taped face disappears. All three works are highly reflexive and quite theoretical in
their direct, immediate address of elements specific to video's otherwise bonded similarities with film. While the date of Three
Transitions follows the availability of 3/4-inch videocassettes, it demanded industry and studio resources that would provide
then very expensive chroma key technology. The works are otherwise independent.
Campus's 1974 R-G-B (i.e., "red-green-blue") is not predicated upon studio resources and, in fact, could find analogue in
cinemawith subtle differences. R-G-B also depends upon the fixed-camera, single-take procedure that characterizes so many
minimalist-structuralist works. Campus himself sits before a videocamera (with an automatic aperture) and progressively places
and removes first a red then a green then a blue filter over the lens; the natural sound records the brief aperture compensation
for each gelatin sheet's filter factor. He ends the work by adding the filters until the cumulative colors and
Plate 6.2.
Hearts (1979) by Barbara Buckner. Photo courtesy of
Electronic Arts Intermix.
shadows, afternoon clouds, and oncoming dusk). The third vignette depends upon a fixed-though-moving camera that extends
from a city roof (or window) upon a shaft, upon a kind of right-angle "tripod" that allows the camera to rotate precisely 180
degrees from an inverted (dawn) view of the street below to a dusk view of the same street's opposite direction; throughout,
elusive dissolves of both natural image and natural sound can trick the eye into seeing a series of separate streets rather than a
fixed-position modified by a unique tilt along with natural changes of daylight. The fourth vignette depends upon two fixed
cameras: the first at the base of Mount Fuji, the second at a busy shopping center of a large Japanese city. The two positions are
linked by a video recording of the first setting being played upon a giant TV screen in the shopping center of the second setting.
The final vignette of Viola's Days pays homage to countless still-life paintings. Before the fixed video camera is a simple set: a
table upon which is a ticking clock and a vase of flowers plus what appears
Notes
6. Experimental Video
1. Raymond Fielding, ed., A Technological History of Motion Pictures and Television (Berkeley: University of California Press,
1967) n.p.
2. Le Grice 74.
3. Le Grice 32.
4. Le Grice 152.
5. Jonathan Price, Video-Visions: A Medium Discovers Itself (New York: New American Library, 1977) 93.
6. Marshall McLuhan, Understanding Media: The Extensions of Man (New York: McGraw-Hill, 1965) 31213; McLuhan's
emphasis.
7. I would suggest that the interested reader also consult some catalogs to gain some sense of the scope of international
experimental video. Electronic Arts Intermix is at 536 Broadway in New York City (10012); Le Videographe is at 4550 Rue
Gamier, Montreal (H2J-357); PRIM video is at 3981 Boul. St. Laurent, Montreal (H2W-1Y5).
8. Le Grice 86.
9. Le Grice 87.
10. Le Grice 88.
11. See Price 21315.
12. Stephen Beck, "Videographics: Reflections on the Art of Video,"
Select Bibliography
American Federation of Arts. A History of the American Avant-Garde Cinema. New York: AFA, 1976.
Andrew, J. Dudley. The Major Film Theories. New York: Oxford University Press, 1976.
Arnheim, Rudolf. Film as Art. Berkeley: University of California Press, 1966.
. Visual Thinking. Berkeley: University of California Press, 1969.
Barnow, Eric. Documentary: A History of the Non-Fiction Film. New York: Oxford University Press, 1974.
Barthes, Roland. The Semiotic Challenge. Translated by Richard Howard. New York: Hill and Wang, 1988.
Bazin, André What Is Cinema? Selected and translated by Hugh Gray. Berkeley: University of California Press, 1967.
Curtis, David. Experimental Cinema. New York: Universe, 1970.
Derrida, Jacques. Of Grammatology. Translated by G. C. Spivak. Baltimore: Johns Hopkins Press, 1976.
Dwoskin, Stephen. Film Is: The International Free Cinema. New York: Overlook Press, 1975.
Eisenstein, Sergei. Film Form and the Film Sense. Edited and translated by Jay Leyda. New York: Meridian Books, 1967.
Fielding, Raymond (ed.). A Technological History of Motion Pictures and Television. Berkeley: University of California Press,
1967.
Gardner, Howard. The Mind's New Science: A History of the Cognitive Revolution. New York: Basic Books, 1987.
Jung, C. G. Mandala Symbolism. Princeton: Bollingen, 1972.
Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press, 1965.
Kuenzli, Rudolf E. (ed.). Dada and Surrealist Film. New York: Willis Locker & Owens, 1987.
Lawder, Standish. The Cubist Cinema. New York: New York University Press, 1975.
Index
Except where indicated, all of the italicized items are titles of films. Each title is followed by the name of the filmmaker.
A
AAG (American avant-garde), 38-48, 81
Abstract expressionism, 46, 81
Acollaborative control, 17-18, 52-53
Actuality film/video, xiv, 15, 16, 35
Aesthetic, 101
All My Life (Bruce Baille), 67
Allures (Jordan Belson), 65
Alpha Mandala (Joseph Anderson and Edward Small), 74-76
Altered states of consciousness, 36-37
Ancient of Days (Bill Viola), 94-96
Andalousian Dog, An [Un Chien Andalou] (Luis Buñuel and Salvadore Dali), 33-34
Anderson, Joseph D., 74-76
Andrew, Dudley, 1, 4, 49-50
Anger, Kenneth, 44, 48-49, 53, 54-55, 80
Animation, 19, 27, 31, 36, 46-48, 71, 74, 75-76, 108n.3
Antiqua 78 R.P.M. (Jean Decarie), 96-97
Arnheim, Rudolf, 5-6, 8, 40-43, 49-50, 66, 100
Articulation, 8-9
Auteur theory, 13
Autumn Fire (Herman Weinberg), 43
Avant-garde: American (AAG), 38-48;
European (EAG), 24-38
B
Baille, Bruce, 67, 77, 80
Balázs, Béla, 2
Ballet Mécanique (Fernand Léger), 27-28, 30-31, 36, 71
Barbeau, Richard, 96
Barthes, Roland, 9
Bartlett, Scott, 62-65
Battleship Potemkin (Sergei Eisenstein), 24
Baumgarten, Alexander L., 99
Bazin, André, 23, 33, 66, 68
Beck, Stephen, 91-92
Begone Dull Care (Norman McLaren), 46-48
Belson, Jordan, 65
Berg, Charles Merrill, 109n.6
Berlin (Walter Ruttman), 34-35
Beydler, Gary, 72-74, 80
Blazes (Robert Breer), 71
Brain, split, 6-7, 77
Brakhage, Stan, 20, 49, 50-53, 65, 80
Breer, Robert, 71
C
Cahiers du cinema (film journal), 13
Campus, Peter, 89-91
Capra, Frank, 54
Cathod, Neam. See Decarie, Jean
Cathode Ray Tube (CRT), 84, 91
Cavalcanti, Alberto, 34-35
Chaplin, Charles, 30
Charles, Ray, 56
Chien Andalou, Un (Luis Buñuel and Salvadore Dali), 33-34
Chinese Firedrill (Will Hindle), 80
Chott el Djerid (Bill Viola), 99
Cinevideo, 63-64, 80-81, 96-97
City Symphonies, 34-35, 36
Clair, René, 31
Clatter montage, 71-72
Claude, Georges, 29
Closed-eye vision, 20, 50-53, 64, 81
Cognitive Science, 51
Compilation, 54-56, 81, 98
Composition in Blue (Oskar Fischinger), 36, 46
Computers, 60, 66, 81, 82, 84, 91, 101, 111n.7
Conner, Bruce, 19, 55-58, 80
Conrad, Tony, 74
Cortical asymmetry, 6-7, 8, 20
Cosmic Ray (Bruce Conner), 56, 57
Crossroads (Bruce Conner), 56, 57
Cubism, 24, 26, 35, 36, 81
Curtis, David, 18, 36, 39
D
Dadaism, 24, 27, 35, 62, 81
Dali, Salvadore, 33-34
Decarie, Jean [pseud. Neam Cathod], 96-97
Deconstruction, 7, 23, 71, 77
Deren, Maya, 44, 50
Derrida, Jacques, 77-78
Devo, 56
Diary-Folk, 81, 98, 111n.28
Diegesis, 21, 26, 27, 29, 30, 53-54
Direct theory, xv, 10-11, 15-16, 49-50, 76, 101-3
Discourse, images as, xv, 5-6, 9, 102-3
Docudrama, 16, 35
Documentary. See Actuality film/ video
Dreams, 19, 31, 33-34, 44-45, 100
Duchamp, Marcel, 29
Dwoskin, Stephen, xiv
Dylan, Bob, 56
E
EAG (European avant-garde), 24-38, 81
EAI (Electronic Arts Intermix), 88, 91, 97
Easy Rider (Dennis Hopper), 54
Eco, Umberto, 3, 9, 69
Economic independence, 18
Eggeling, Viking, 28, 36
Eisenstein, Sergei, 2, 3, 4, 5, 24-25, 37, 40, 53-55, 57, 68, 71-72
Eisenstein-Bazin Debate, 2, 3, 53, 68, 77
Eliot, T. S., 43
Emak Bakia (Man Ray), 31
Emshwiller, Ed, 93
Entoptic. See Closed-eye vision
Entr'acte (René Clair), 31
Expanded cinema, 48, 60-61, 81, 82, 91
Experimental film/video: characteristics of, 17-22;
as major genre, 15-17
Expressionism, 42-43, 81
F
Factual. See Actuality film/video
Fictive differential, 21, 26
Fictive feature, xiv, 14, 15
Fielding, Raymond, 83-84
G
Galerie Parnasse, 93
Galton, Sir Francis, 51
Gazzaniga, Michael, 6
General Line, The (Sergei Eisenstein), 53
Generic characteristics of experimental film/video, xv, 17-23
Genre theory, 13-14
Governor, The (Stan Brakhage), 80
Grande syntagmatique, 3, 9-10, 81
Griffith, D. W., 30, 84
H
H2O (Ralph Steiner), 40-41
Hagiwara, Sakumi, 77
Hammid, Alexander, 44
Hanhardt, John, 45-46, 92-93
Harrington, Curtis, 44
Hatsu Yume (Bill Viola), 99-101
Heads (Barbara Buckner), 94
Hearts (Barbara Buckner), 94-95
Hindle, Will, 80
History and Memory (Rea Tajiri), 97-98
Holt, Robert, 51
I
I Cannot Go to Africa Because I Am on Duty [Não Vou á Ãfrica Porque Tenho Plantão] Éder Santos), 97
Images as discourse, xv, 5-6, 9, 102-3
Intellectual montage/intellectual cinema, 25, 53-54, 56-58
lntertextuality, 45, 49, 65
Ivens, Joris, 34-35
J
Jacobs, Lewis, 111n.29
James, William, 51
Jameson, Frederic, 98
Jump-cuts, 73, 113n.36
Jung, Carl, 9, 11, 51, 64
K
Kid, The (Charles Chaplin), 30
Kinesthetic cinema, 62
Kiri (Sakumi Hagiwara), 77
Klee, Paul, 50, 101
Kracauer, Siegfried, 2, 33, 37, 40, 50-51
Kuleshov, Lev, 2
L
Laboratory, experimental film/video as, 54, 56, 65-66, 112n.23
Lambert, Evelyn, 46
Language and film, 5
Lawder, Standish, 29, 80
Léger, Fernand, 27-28, 30-31, 36, 71
Le Grice, Malcolm, 10, 85-86, 88-89, 94
Life and Death of 9413a Hollywood Extra, The (Robert Florey), 39
Lindsay, Vachel, 1-2, 3, 24
Linguistics, 3, 7
Literary bias, 85
Logocentrism, 7, 77-78
Logos, xv, 102
Loop-printing, 27, 67, 77-79, 81, 88, 111n.4
M
MacDonald, Scott, 11, 12, 77
McLaren, Norman, 46-48, 50
McLuhan, Marshall, 87
Major genre, experimental film/video as, xiv
Mandala, 64-65, 75
Manhatta (Paul Strand), 39-40, 43
Man with a Movie Camera (Dziga Vertov), 34
Marginality, 12
Marinetti, Emilio, 27
Marx, Groucho, 22
Mechanochemical and electronic, 74, 80-81, 83, 86
Medium specificity, 37, 75, 78-80, 86-87, 91, 94
Mekas, Jonas, 38, 58
Méliès Georges, 60
Mental imagery, 19-20, 31, 51, 64, 91.
See also Closed-eye vision; Dreams
Meshes of the Afternoon (Maya Deren and Alexander Hammid), 44
Metz, Christian, 2, 9, 10, 11, 21, 69, 81, 102-3
Minimalist-structuralist, 66-69, 76-77, 81, 82, 88-89, 94, 96
Moana (Robert Flaherty), 16
Mondrian, Piet, 29
Mongoloid (Bruce Conner), 56
Montage, 2, 24-25, 37, 57, 74-76
Moonlighting (television show), 22
Movie, A (Bruce Conner), 55-58
MTV, 56, 111n.4
Munsterberg, Hugo, 1, 24
Murphy, Dudley, 27
Murphy, J. J., 77-80
Murphy, Katherine, 27
Music, 22, 36-37, 46, 80, 86
Music video, 56, 111n.4, 111n.26
N
Não Vou á Ãfrica Porque Tenho Plantão (Éder Santos), 97
Narrative, 21, 25-26, 29, 43, 44
National Film Board of Canada (NFB), 46
Neon, 28-29, 66, 87, 101
Nicholai, Otto, 36
Nonfiction. See Actuality film/video
Nonnarrative structures, 21, 37-38, 80
Nothing but the hours [Rien que les heures] (Alberto Cavalcanti), 34-35
Nude Descending a Staircase (painting by Marcel Duchamp), 29
N.Y.N.Y (Francis Thompson), 49, 50
O
Objective correlative, 43
October (Sergei Eisenstein), 24, 53-55
OFFON (Scott Bartlett), 62-63, 64-65
Old King, The (painting by Georges Rouault), 21-22
O'Neill, Pat, 60-62
Oneiric imagery. See Dreams
P
Pahnke, Walter N., 36-37
Paik, Nam June, 92-93
Painting, 21-22, 25, 29, 42, 86
Pasadena Freeway Stills (Gary Beydler), 72-74, 75-76
Peirce, Charles Sanders, 102
Permian Strata (Bruce Conner), 56, 57
Peterson, Oscar, 46
Pictos, 102
Poetry, 39-40, 43
Politique des auteurs, 13
Q
Quick Billy (Bruce Baille), 80
Quintessential auteur control, 18, 52, 100
R
Rain (Joris Ivens), 34
Ray, Man, 31-32
"Rayograms," 31-32, 109n.6
Realism, 35
Reflexivity, xv, 21-22, 45-46, 49-50, 56, 59, 65, 67, 70, 75-77, 89-90, 94, 102-3
Region Centrale, La (Michael Snow), 18
Renan, Sheldon, 18, 19, 21, 23, 36, 48-49, 59, 60, 64, 108n.4
Rental sources, xv, 113n.7
Rephotography, 67, 77
Report (Bruce Conner), 56, 57
Representation, 2, 33, 40, 45-46, 51, 66, 68
Retour à la Raison (Man Ray), 31
R-G-B, 90-91
Rhythmus 21 (Hans Richter), 29-30, 36, 71, 80
Richards, William A., 36-37
Richter, Hans, 29, 37, 50, 71
Rien que les heures (Alberto Caval-canti), 34
Rouault, Georges, 21-22
Roulement de Billes [Rolling Balls] (Richard Barbeau), 96
Rural, Jalal al-Din, 101
Runaway (Standish Lawder), 80
Runs Good (Pat O'Neill), 62
Russett, Robert, 108n.3, 112n.29
Russian formalism, 24-25, 41
Ruttman, Walter, 34-36
S
Santos, Éder, 94
Sarris, Andrew, 13
Saussure, Ferdinand de, 3, 4, 7-8, 49, 61, 69-70, 87, 102, 109n.2
Saussure's concept of sign, 3, 7-8, 69-70, 87, 102, 109n.2
Saussure's concept of symbol, 7-9, 69-70
Scorpio Rising (Kenneth Anger), 48-49, 53-55
Semiotics, 3, 4, 7, 69-70, 81, 102
7362 (Pat O'Neill), 61
Sheeler, Charles, 39-40
Shklovsky, Victor, 55-56
Sign, Saussure's concept of, 3, 7-8, 69-70, 87, 102, 109n.2
Silence, 20, 52, 87, 94
Single-take films, 77, 113n.32
Sitney, P. Adams, 33, 38, 43-44, 50, 52, 66-67, 69-70, 76-77, 79, 88
69 (Robert Breer), 71
Snow, Michael, 18, 67-68, 70-71
Sound, 20, 36, 42, 87
Stare, Robert, 102
Starr, Cecile, 108n.3, 112n.29
Steiner, Ralph, 40
Still Life (Bruce Baille), 67, 77
Strand, Paul, 39-40
Stream-of-consciousness, 25, 43
Surrealism, 24, 27, 31, 33-34, 35, 81
U
UFA, 28, 29
Underground, 48-59, 80-81
V
Valse Triste (Bruce Conner), 57, 80
Verbal language, avoidance of, 20, 87
Vertov, Dziga, 34-35
Video cassettes, 84, 88, 91, 92
Video feedback, 63, 64-65
Videographe, Le, 88
Videographic, 86
Video Weavings (Stephen Beck), 91-92
Viola, Bill, 94-96, 99-101
W
Warhol, Andy, 67, 68-69
Watson, James, 42
Wavelength (Michael Snow), 67-68, 70-71
Webber, Melville, 42
Wees, William C., 51-52
Weinberg, Herman, 43
West Coast Abstract School, 64, 81
Whitney, James, 64-65
Whitney Museum of American Art, 93
Why We Fight (Frank Capra), 55
Willis, Bruce, 22
Written film theory, 1-4
Y
Yantra (James Whitney), 64-65
Youngblood, Gene, 60, 67
Z
Zettl, Herbert, 81