Knights moves
Data(s) |
01/01/2015
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Resumo |
This essay examines how the found footage films of Martin Arnold (Alone: Life Wastes Andy Hardy, 1998) and Peter Tscherkassky (Outer Space, 1999 and Dream Work, 2002) can be read as a belated response to Peter Wollen’s 1970s splitting of the avant-garde. Wollen’s tactical move, his article The Two Avant-gardes (Wollen, 1975 and revised in 1982) marked a historic moment when both critics and artists gained easy access to the film editing-machine for both film analysis and reflexive film production respectively. Wollen’s text asserted differences between a political and formalist avant-garde, opening up a space between structuralist/materialist film and feminist film theory and its counter-cinema. This move enabled Laura Mulvey and other Cine-Feminists to eschew formalism in favor of a political feminist counter–cinema and further, as part of its move into the academy, to develop and enlist Textual Analysis as a tool for uncovering the patriarchal ideologies at the heart of Hollywood melodrama. |
Identificador | |
Idioma(s) |
eng |
Publicador |
Found footage magazine |
Relação |
http://dro.deakin.edu.au/eserv/DU:30078942/debruyn-cover-evid-2015.pdf http://dro.deakin.edu.au/eserv/DU:30078942/debruyn-knightsmoves-2015.pdf http://foundfootagemagazine.com/issues/ |
Direitos |
2015, Found footage magazine |
Palavras-Chave | #avant-garde #film history #feminism |
Tipo |
Journal Article |