source guides

National Library

experimental film

experimental film

contentsTHE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY

INFORMATION GUIDE STATEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iBFI NATIONAL LIBRARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iiACCESSING RESEARCH MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iiiAPPROACHES TO RESEARCH, by Samantha Bakhurst . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iv

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

GENERAL REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

FOCUS ON:

DEREK JARMAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4CHRIS MARKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6MARGARET TAIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

CASE STUDIES: ANGER, BRAKHAGE, AND WARHOL . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

KENNETH ANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13STAN BRAKHAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17ANDY WARHOL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Compiled by: Christophe DupinStephen Gordon

Ayesha KhanPeter Todd

Design/Layout: Ian O’Sullivan

Project Manager: David Sharp

© 2004 BFI National Library, 21 Stephen Street, London W1T 1LN

16 + Source Guide

BFI National Library i

16+ MEDIA STUDIES

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copiesof this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research

sources must be credited”.

BFI National Library

All the materials referred to in this guide are available for consultation at the BFI National Library.If you wish to visit the reading room of the library and do not already hold membership, you willneed to take out a one-day, five-day or annual pass. Full details of access to the library andcharges can be found at:

www.bfi.org.uk/filmtvinfo/library

BFI National Library Reading Room Opening Hours:

Monday10.30am - 5.30pmTuesday10.30am - 8.00pmWednesday 1.00pm - 8.00pmThursday10.30am - 8.00pmFriday10.30am - 5.30pm

If you are visiting the library from a distance or are planning to visit as a group, it is advisable tocontact the Reading Room librarian in advance (tel. 020 7957 4824, or email library@bfi.org.uk).

BFI National Library British Film Institute21 Stephen StreetLondon W1T 1LNTel. 020 7255 1444

www.bfi.org.uk/filmtvinfo/library

The library’s nearest underground stations are Tottenham Court Road and Goodge Street. For amap of the area please see:

www.bfi.org.uk/filmtvinfo/library/visiting

BFI National Library ii

Accessing Research Materials

Copies of articles

If you are unable to visit the library or would like materials referred to in this guide sent to you,the BFI Information Service can supply copies of articles via its Research Services. Research ischarged at a range of hourly rates, with a minimum charge for half an hour’s research – full de-tails of services and charges can be found at:

www.bfi.org.uk/filmtvinfo/services/research.html

For queries about article copying or other research, please contact Information Services at theabove address or telephone number, or post your enquiry online at:

www.bfi.org.uk/filmtvinfo/services/ask

Other Sources

Your local library

Local libraries should have access to the inter-library loan system for requesting items they do nothold and they may have copies of MONTHLY FILM BULLETIN and SIGHT AND SOUND. Some recentnewspaper items may be held by your local reference library. Larger libraries will hold other rele-vant materials and should offer internet access.

Your nearest college/university

Universities may allow access to outside students, though you may not be able to borrow books orjournals. Ask your reference librarian, who should be able to assist by locating the nearest collegelibrary holding suitable material. The BFI Film and Television Handbook lists libraries with signifi-cant media collections.

Your school library

Local bookshops

Some of the books mentioned in the bibliography will be in print and your bookshop should beable to order items for you.

The British Library Newspaper Library

The Newspaper Library will have all the newspaper items referred to in this guide. Contact the li-brary first if you wish to visit. 16+ students under the age of 18 will need to make an appoint-ment.

The British Library Newspaper LibraryColindale Avenue London NW9 5HE Tel. 020 7412 7353Email:?newspaper@bl.uk

www.bl.uk/collections/collect.html#newsBL

BFI National Library iii

Approaches to Researchby Samantha Bakhurst

Why do research?

You cannot simply rely on your existing knowledge when approaching essays in Media Studies.Although you will have some understanding of the area being explored, it is not enough to enableyou to examine the area in depth. If you were asked to write about the people in your street in de-tail, you might have some existing information about names, faces, relationships, issues and ac-tivities but this knowledge would not offer you details such as every single one of their names,who knows who, who gets on with whom, how people earn a living, what has happened to themin the past and so on. This extra information could change your opinions quite dramatically. With-out it, therefore, your written profile would end up being quite shallow and possibly incorrect. Thesame is true of your understanding of media texts, issues and institutions.

Before researching any area, it is useful to be clear about what outcomes you are hoping toachieve. Research is never a waste of time, even when it doesn’t directly relate to the essay youare preparing. The information may be relevant to another area of the syllabus, be it practicalwork or simply a different essay. Also, the picture you are building up of how an area works willstrengthen your understanding of the subject as a whole. So what outcomes are you hoping toachieve with your research?

A broad overview of the area you are researching: This includes its history, institutions, conven-tions and relationship to the audience. Research into these aspects offers you an understanding ofhow your area has developed and the influences that have shaped it.

An awareness of different debates which may exist around the area of study: There are a range ofdebates in many subject areas. For example, when researching audiences you will discover thatthere is some debate over how audiences watch television or film, ranging from the passive con-sumption of values and ideas to the use of media texts in a critical and independent way. Any dis-cussion about censorship, for example, will be extremely shallow if you have no knowledge ofthese different perspectives.

Some knowledge of the work of theorists in the area: You need to demonstrate that you have readdifferent theorists, exploring the relevant issues and investigating the area thoroughly in order todevelop your own opinion based on acquired knowledge and understanding.

Information relevant to all key concept areas: You should, after research, be able to discuss all keyconcept areas as they relate to that specific subject area. These are the codes and conventions,representation, institutions and audience.

Types Of Research

Primary: This is first-hand research. In other words, it relies on you constructing and conductingsurveys, setting up interviews with key people in the media industry or keeping a diary or log ofdata (known as quantitative information) on things such as, for example, what activities womenare shown doing in advertisements over one week of television viewing. Unless you are equippedto conduct extensive research, have access to relevant people in the media industry or are thor-ough in the up-keep of your diary or log, this type of research can be demanding, complex andsometimes difficult to use. Having said that, if you are preparing for an extended essay, then it isexactly this type of research which, if well used, will make your work distinctive and impressive.

Secondary - printed sources: This is where you will be investigating information gathered by otherpeople in books, newspapers, magazines, on radio and television. All of these sources are excellentfor finding background information, statistics, interviews, collected research details and so on.This will form the majority of your research. Some of these will be generally available (in public li-braries for example); others such as press releases and trade press may only be available throughspecialist libraries.

BFI National Library iv

Secondary - online sources: Online sources are also mainly secondary. You will need to be able tomake comparisons between sources if you intend quoting online information, and to be wary ofthe differences between fact and opinions. Don’t necessarily assume something is a fact becausesomeone on a website says it is. Some websites will be “official” but many will not be, so you needto think about the authority of a site when assessing the information found on it. The structure ofa website address (URL) can indicate the site’s origin and status, for example, .ac or .edu indicatean academic or educational institution, .gov a government body, .org a non-profit organisation, .coor .com a commercial organisation. Websites sometimes disappear or shift location - make sureyou can quote a URL reference for a site, and perhaps keep a note of the last date that youchecked it.

Other Media: When considering one area of the media or one particular product or type of prod-uct, it is very important that you compare it with others which are similar. You will need to be ableto refer to these comparisons in some detail so it is not enough to simply watch a film. You willneed to read a little about that film, make notes, concentrate on one or two scenes which seemparticularly relevant and write all of this information up so that you can refer to it when you needto.

History and development: Having an understanding of the history and development of the mediatext which you are researching will provide a firm foundation and context for contemporaryanalysis. There is a difference between generally accepted facts and how theorists use these facts.

Theory: This is the body of work of other critics of the media. Most of the books and periodical ar-ticles which you will read for research will be written by theorists who are arguing a particularviewpoint or position with regard to an issue within the media. It is this which forms the debatessurrounding the study of the media, in which you, as a media student, are now becoming in-volved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, thefirst stage of research is to plan two things. When are you able to do your research and how areyou going to organise the information gathered? You may, for example, wish to make notes underthe headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The mostobvious pitfall is to gather up all of the collected information and throw it at the page, hoping toscore points for quantity. The art of good research is how you use it as part of your evidence for ananalysis of the text. The knowledge you have acquired should give you the confidence to explorethe text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list allreferences to secondary research, whether mentioned within the essay or not, at the end of yourwork.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980. 2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen,Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with relevant information such as the di-rector, date of release or transmission, production company and, where possible, scene or episodenumber. Where you have compiled primary research, it is useful to offer a brief summary of thisalso at the end of your work.

BFI National Library v

This section covers key texts onexperimental film and video, stud-ied from historical, theoretical,and/or critical perspectives. Thenotion of experiment in the fields offilm and video has, over the years,been applied to a variety of prac-tices. For instance, it has oftenbeen associated with technologicalinnovation, training new filmmak-ers or even the idea of ‘work inprogress’. The following list, how-ever, focuses on experimental filmas an artistic project which hashad, as Michael O’Pray puts it,“more in common with the aspira-tions of other visual arts in [the20th] century than with commer-cial cinema”, hence the regularuse of labels such as “avant-garde”or “artists’ film” in reference tosuch films. In many ways, experi-mental film is indeed a non-com-mercial project. Not only does itdeny mainstream cinema’s tradi-tional narrative structure and real-istic representation of the world byexploring new modes of visual andemotional experience, but it alsorejects the very production, distri-bution and exhibition methods ofcinema as a profitable industry.Instead, it seeks to re-invent theentire institution of cinema by cre-ating new, independent forms offilmmaking. The books and articles belowintroduce and examine experi-mental film and video’s aestheticconcerns, their political oppositionto the values of commercial cine-ma and the alternative practiceswhich they have developedthroughout the 20th century.Besides, these texts focus on sev-eral crucial moments in the histo-ry of experinmental film andvideo, from the modernistEuropean movements of the 1920sto the post-war American under-ground cinema and the variousstrands of England’s avant-gardefrom 1966 to the present. Finally, the list below includesaccessible, introductory texts, aswell as more specialised and theo-retical ones which require priorknowledge of the subject.

books

DANINO Nina and MAZIERE,MichaelThe Undercut reader: critical writ-ings on artists’ film and videoLondon; New York : Wallflower Press,2003, 277 p.; illus

This anthology consists of essaysfrom Undercut, the only Britishmagazine dedicated to artists’ filmand video in the 1980s, as well asnewly-commissioned articles byleading critics in the field. Itexplores in particular the aesthet-ics and politics of what has beencalled the ‘second wave’ of Britishartists’ film, within the dual con-text of visual arts and the inde-pendent film sector.

DUSINBERRE, Peter de KayEnglish avant-garde cinema 1966-1974.London: University College, [MPhilthesis], 1977, 275p. bibliog. filmogs

This is certainly the most compre-hensive study of the English filmavant-garde in the late 1960s-early1970s, by one of its most respectedspecialists. Dusinberre’s thesisexamines the formation of themovement around the London Film-makers Co-op (LFMC) in 1966/67 andthe Arts Lab. It then analyses indetail the development of thisavant-garde until the mid-1970s.Alternating the factual descriptionof the movement and a more theo-retical approach to the concept ofavant-garde, the book is accessibleto non-specialists. Finally, theappendices reproduce rare docu-ments such as programmes ofavant-garde screenings, mani-festos, reports and filmographiesof selected English experimentalfilmmakers of that period. Inshort, this thesis is a must-read onthe subject.

DWOSKIN, StephenFilm is: The international free cin-ema.London: Peter Owen, 1975 268p.plates. bibliog. index

Dwoskin is an American avant-garde filmmaker who emigrated toLondon 1964 and played a crucialpart in the development of the

English avant-garde movement inthe late 1960s. In this study of thefilm avant-garde in several coun-tries, Dwoskin devotes a wholechapter to the development of theEnglish avant-garde. He has anoutsider’s interesting point of viewand proves very critical about theBritish attitude towards filmavant-garde in general.

ELLIS, John (ed)1951-1976: British Film Instituteproductions: a catalogue of filmsmade under the auspices of theExperimental Film Fund 1951-1966 and the Production Board1966-1976.London: British Film Institute 1977,135p. illus. index

The contribution of the BFIExperimental Film Fund andProduction Board to the funding ofexperimental and independentfilms in Britain, from Free Cinemamovement to the political and aes-thetic avant-gardes of the 1970s,was far from negligible. This firstcomprehensive catalogue of BFIproductions is more than a merecatalogue. Not only does it reviewall films funded by the BFIbetween 1951 and 1976, but it alsoprovides the first serious analysisof the Experimental Film Fund /Production Board’s history in thewider context of British cinema inthat period, and discusses some ofthe key aesthetical concerns of theindependent sector. Two furthereditions of the Catalogue contin-ued to explore a number of aes-thetic, institutional and technolog-ical issues at stake in independentcinema. See Elizabeth Cowie (ed),Catalogue: British Film InstituteProductions 1977-1978, London: BFI,1978, and Rod Stoneman andHilary Thompson (eds), The NewSocial Function of Cinema: Catalogue,British Film Institute Productions‘79/80, London: BFI, 1981

Film as film: formal experiment infilm, 1910-1975.London: Arts Council of GreatBritain, 1979, 152p. illus. filmogs

This catalogue accompanied anexhibition entitled ‘Film as Film’ atthe Hayward Gallery in 1979,which traced the history of experi-mental film practices specifically

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 1

general references

interested in the formal qualitiesof film. The catalogue, whichdivides the history into two peri-ods (1910-1940 and 1940-1975)offers a number of crucial essayson specific movements and trendswithin this avant-garde, and pro-vides useful filmographies.

GIDAL, PeterMaterialist film.London: Routledge, 1989, 189p. illus.index

Gidal’s polemical book intends totheorise ‘materialist film’ throughthe examination of a series of con-cepts, explored in conjunctionwith specific films by avant-gardefilmmakers. The radical politicsbehind Gidal’s theory, inspired bypost-1968 politics, is certainly his-torically important, but it mayseem outdated to today’s reader.

GIDAL, Peter (ed)Structural film anthology.London: British Film Institute, 1976,140p.

A classic collection of essays byfilmmakers and film theorists on‘structural’ films and filmmakersof the late 1960s/early 1970s.

HAMLYN, NickyFilm art phenomena.London: British Film Institute, 2003,200p.

In this book, Hamlyn draws fromhis own experiences as a Britishexperimental filmmaker to investi-gate the film art phenomenon. Hisstudy treats artists’ film conceptu-ally in order to explore key cate-gories that connect different worksand filmmakers, from ‘classics’such as Michael Snow, StanBrakhage and Malcolm Le Grice, toa new generation of artists. Forreaders.with some previousknowledge of the subject.

KNIGHT, Julia (ed)Diverse practices: a critical readeron British video art.Luton: University of LutonPress,1996, 384p. illus, chronolog. bib-liog.

This long-awaited book broughttogether a collection of newlycommissioned and previously pub-lished essays analysing variousaspects of the development of

British video art from its earlydays in the late 1960s to the 1990s,from an historical as well as theo-retical perspective. It also includesa detailed chronology of that sec-tor. “Despite the uneven quality ofthe essays and some methodologi-cal flaws, the collection offers avaluable teaching resource as itidentifies and explores, in a vari-ety of ways, themes that are cru-cial to an understanding of Britishvideo art” (Dimitris Eleftheriotis,Screen, Spring 1998)

LE GRICE, MalcolmAbstract film and beyond.London: Studio Vista, 1977, 160p.illus. bibliog. index

This book gives both a theoreticaland historical account of the mainpreoccupations of abstract film-makers (defined as experimentalfilmmakers dissatisfied with theillusions of time and space createdby commercial cinema). Le Gricediscusses the early abstract filmsof the 1920s, American experimen-tal cinema of the 1940s and finallythe development of the avant-garde after the war, both in the USand in Europe.

LE GRICE, MalcolmExperimental cinema in the digitalage.London: British Film Institute, 2001,330p.; index

Malcom Le Grice’s prolific theoreti-cal writings on experimental cine-ma have been an integral part ofhis work as a filmmaker ever sincethe 1960s. This unique collectionsheds light on three decades of theartist’s thinking, examines thework of other practitioners ofexperimental cinema and digitalart (it includes for instance twoextremely interesting interviewsLe Grice held with Brakhage andSitney in the late 1970s), docu-ments the institutional aspects ofthe British avant-garde anddescribes the polemical debatesabout the nature of the avant-garde that took place in the 1970sin particular. The title, however, israther misleading, since the largemajority of the articles were writ-ten between 1972 and 1982. Themost theoretical essays in thisbook do require prior knowledge ofthe subject and of the methodolo-gy and terminology used in analy-sis.

MacDONALD, ScottAvant-garde film: motion studies.Cambridge: Cambridge UniversityPress, 1993, 199p. illus. filmog. index

Avant-garde Film offers a criticalanalysis of fifteen key films of theavant-garde tradition, all madebetween 1966 and the late 1980s.The fifteen chapters are dividedinto 3 sections. The first analysesfilms that focus on aspects of theequipment, material and processthat make all kinds of filmimagery possible. The secondfocuses on aspects of the traditionof film as dramatic narrative. Thethird concerns films that criticisethe convention that filmmaking isa national enterprise. The bookremains fairly accessible to ‘avant-garde newcomers’.

O’PRAY, Michael (ed.)The British avant-garde film 1926to 1995: an anthology of writing.Luton: John Libbey Media/ArtsCouncil of England/University ofLuton, 332p. illus. bibliog. index

This book gathers a selection ofarticles by academics on Britishexperimental cinema throughoutthe century. The article “EnglishAvant-garde film: An EarlyChronology” by David Curtis (pp.101-121) deals specifically with the1960s. Curtis was directly involvedin the movement in the late 1960sas a film programmer for the ArtsLab, and his recollection of thatperiod takes the form of a diary.

O’PRAY, MichaelAvant-garde film: forms, themesand passions.London, New-York: Wallflowers,2003, 136p, bibliog.

Aimed primarily at “students andthe general reader”, this is by nomeans a definitive account of thehistory of the avant-garde film, butit provides an in-depth yet accessi-ble introduction to the subject. Thebooks follows the developments ofthe avant-garde from early mod-ernist movements of the 1920s inEurope and the Soviet Union,through to the New Wave andAmerican Underground of theSixties, English structuralism andcontemporary gallery work.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 2

REES, A.L.A history of experimental film andvideo: from the canonical avant-garde to contemporary Britishpractice.London: British Film Institute, 1999,152p. plates. bibliog. index

A short chapter titled “EnglishStructuralists” (pp. 77-82) sums upthe development of the LFMC inthe late 1960s/1970s and its linkswith the ‘structuralist’ movementrepresented by film-makers likeMalcolm Le Grice, Peter Gidal anda few others.

RENAN, SheldonThe Underground Film. An intro-duction to its development inAmerica.Studio Vista, 1967. 318p., illus.

Despite – or perhaps because of –its focus on America, this relative-ly early volume on the subject hasa lot of information about avant-garde film in one geographicallocus, and it therefore includes agood overview of (early) Warholand of Brakhage and KennethAnger.

SITNEY, P. Adams (ed)The avant-garde film: a reader oftheory and criticism.New York: New York University Press,1978, 295p. illus

This comprehensive anthologyoffers, in Sitney’s own words, “anextensive survey of the theoreticalcontributions of avant-garde film-makers and essays about their cin-ematic experience”, beginningwith the pioneers of the 1920s andending with avant-garde filmmak-ers of the 1960-70s. It reproduces agreat variety of materials, frommanifestoes to letter, programmenotes, interviews or lectures. Morethan 28 years after its publication,this is still an indispensable textfor students of avant-garde filmand its history.

SITNEY, P. AdamsVisionary film: the Americanavant-garde 1943-2000.Oxford; New York, NY: OxfordUniversity Press, 2002, 3rd edition,462p., illus., index.

The first, 1974 edition of this bookwas already considered by many astandard text on American avant-garde film. For this third edition,Sitney has once again revised andupdated this classic work, and has

brought his discussion of the prin-cipal genres and major filmmakersup to the year 2000.

STREET, SarahBritish national cinema.London: Routledge, 1997

pp. 147-168, “chapter 6: borderlines1: modernism and British cinema”,and pp 169-196, “chapter 7: border-lines 2: counter-cinema and inde-pendence”

In these two chapters, Street givesan rather comprehensive overviewof avant-garde and experimentalfilm practices in Britain from the1920s to the late 1980s, and pro-vides the institutional and politicalcontext in which these practicesdeveloped.

TYLER, ParkerUnderground film: a critical history New York: Da Capo Press, 1995 (newedition), 265p. illus. filmog. index

The American critic Parker Tylerwas enormously respected by theunderground and experimentalfilmmakers of his time. The firstbook of its kind, this classic studyof underground film treats theAmerican Underground film move-ment of the 1960s as much as anideology and a social practice as acorpus of work. It evaluates themovement in general, as well asthe seminal films in particular.Most of the material is derivedfrom the author’s articles in FilmCulture.

websites

http://www.lfmc.org/

This very useful website, dedicatedto the first decade of the LondonFilmmakers Co-op and Britishavant-garde film (1966-76),includes a filmmakers’ index, adetailed chronology, and an essen-tial illustrated essay by A.L Reesentitled “Locating the LFMC: TheFirst Decade in Context”.

http://www.lux.org.uk/

Along with providing informationabout current Lux projects andevents, this website is particularlyuseful for its impressive number oflinks to a wide range of resources

for students, researchers, artistsand programmers. Also includesthe searchable online list of theentire Lux catalogue, with links torelated materials on Luxonline(see below)

http://www.luxonline.org.uk/

Luxonline is a free comprehensiveon-line resource for people wish-ing to learn about and exploreBritish artists’ film and video. It isan ongoing project, new featuresbeing regularly added to this virtu-al archive. It includes a large num-ber of short, illustrated essays onspecific themes, artists and works,as well as a useful chronology.

http://www.studycollection.org.uk/

Another great web-resource forwhoever studies British artists’film and video. Includes a compre-hensive database of films andartists (with over 5,000 titles and adetailed search system), severalbibliographies, an online exhibi-tion about British avant-garde filmgraphics (1966-85), several researchpapers and the online video librarycatalogue listing over 2,000 titlesavailable on video and DVD forviewing.

http://ukvideoart.tripod.com/

Online chronology of first twodecades of British video art.Shame about the pop-ups!

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 3

1942-1994

At that time of Derek Jarman’sdeath on 19 February 1994, BenGibson, then Head Of Productionat the BFI, was reported in TheGuardian as saying: “Derek wassimply the most important innovator,most generous teacher and mostcourageous artist of a generation ofBritish filmmakers.”

As a director Derek Jarman’s workranged from his Super-8 “homemovies” to the full-scale featureCARAVAGGIO which was partlyfunded by the BFI ProductionBoard. However during his lateryears he became equally well-known for his work as a gayactivist and for his candour in dis-cussing his battle with AIDS-relat-ed illnesses. He also found a newaudience for his writings on hiscreation of a unique garden at hishome in Dungeness.

The following is a selection fromsome of the many books, journalarticles and newspaper cuttings onDerek Jarman held by the BFINational Library which has beenchosen to give a flavour of hiswork as an artist and filmmaker.

In 1984 he donated some of hispapers to the Special Collectionsof the BFI National Library includ-ing treatments, costume designsand stills from SEBASTIANE,JUBILEE and THE TEMPEST. Thesemay be viewedupon application.

booksJARMAN, DerekChroma: a book of colour.London: Century, 1994. 151p.

An evocative meditation on thecolour spectrum which includespersonal reminiscences and refer-ences to art history and theory. Itwas published shortly after thefirst screening of Derek Jarman’sfilm BLUE.

LIPPARD, Chris, EditorBy angels driven: the films ofDerek Jarman.Trowbridge, Wiltshire: Flicks Books,Cinema voices series,1996. 202p. [8]plates. filmog. bibliog. index.

A collection of seven essays whichdiscuss all of the major filmsdirected by Derek Jarman. Of par-ticular interest is an essay byJoseph A. Gomez: ‘The process ofJarman’s WAR REQUIEM: personalvision and the tradition of fusionof the arts,’ which discusses thebalance between Wilfrid Owen’spoetry, Benjamin Britten’s musicand Derek Jarman’s use of images.

O’PRAY, MichaelDerek Jarman: Dreams of England.London: BFI Publishing,1996. 232p.illus. (some col.) bibliog. filmog.index.

Michael O’Pray, who knew DerekJarman for many years, discusseshis work and gives an account ofhis life. Although not strictly abiography he offers interestinginsights into the relationshipbetween Jarman’s family historyand his filmmaking.

PEAKE, TonyDerek Jarman: a biography.London: Little, Brown and Company(UK), 1999. 613p. [24] col. & b&wplates. filmog. bibliog. index

A detailed and comprehensivebiography which begins and endswith an account of Derek Jarman’sfuneral giving a moving and vividpicture of his life and friendships.

WOLLEN, Roger et al.Derek Jarman: A Portrait.London: Thames and Hudson, 1996.175p. illus. (many col.) chronol.Index.

Published to coincide with the1996 exhibition ‘Derek Jarman: APortrait’ at the Barbican Art Galleryin London. The book has eightcontributors including MichaelO’Pray who writes on ‘Art ofFilms/Films of Art’ and YolandaSonnabend on ‘Designing theTempest’.

pamphlets

CORRIN, Lisa G. and SPICER,JoeneathGoing for Baroque: 18 contempo-rary artists fascinated with theBaroque and Rococo. The artist associal outsider.Baltimore, Maryland: TheContemporary and the Walters ArtGallery, 1995, p.21

This essay gives an interestinginsight into Derek Jarman’s adop-tion of Caravaggio’s work to formstill interludes in his eponymousfilm. There is a useful discussionof how the process of paintingrelates to that of filmmaking.

HORRIGAN, WilliamOf angels and apocalypse: the cin-ema of Derek Jarman.Walker Arts Center, Minneapolis,1986.

Written to accompany a touringexhibition of Derek Jarman’s workin 1987 this catalogue gives anaccount of his filmmaking up toand including Caravaggio. In hisintroduction William Horrrigangives an illuminating account ofthe techniques deployed byJarman in working in Super-8 andvideo formats.

journal articles

AMERICAN FILMVol.11. No.10. September 1986,pp.44-47, 59-61

Unnatural Lighting, by Tony Rayns

Derek Jarman’s work on CARAVAG-

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 4

derek jarman

GIO is put in context with a briefhistory of his earlier work. TonyRayns describes him as more of ametteur en scène than an auteurbecause of his concentration onframing, lighting and performance.

AURAVol .6. No.3. 2000, pp.18-32

The Rise and Fall of British ArtCinema: A Short History of the1980s and 1990s, by John Hill

An interesting account of BritishArt Cinema which discusses DerekJarman’s work alongside that ofother ‘art’ filmmakers of the 1980sand 1990s. It explains the institu-tional infrastructure upon whichBritish Art Cinema depended.

CINEASTEVol.18. No 4. Dec 1991, pp.24-27

History and the Gay Viewfinder:An interview with Derek Jarman,by Roy Grundmann

A very wide-ranging interview inwhich Derek Jarman discusses hismajor films up to 1991. He toucheson the relationship between fund-ing and the generally lyrical seg-mented form of his films.

FILM DIRECTIONSVol.2. No.8. 1979, pp. 14-15

Interview with Derek Jarman

Derek Jarman discusses THE TEM-PEST, SEBASTIANE and JUBILEE andtalks about his then forthcoming“Caravaggio project”.

MONTHLY FILM BULLETINVol.51. No 605. June 1984, pp. 189-90

Super-8, video and home movies:Derek Jarman discusses ‘real’film-making, with Michael O’Pray

Derek Jarman talks about his fasci-nation with home movies and hisSuper-8 work. He describes howthe influences on his Super-8swere probably far more literarythan filmic; he would write poetryand try to bring that to life.

SIGHT AND SOUNDVol. 14. No. 3, March 2004, p. 76

When the party’s over, TildaSwinton talking to GeoffreyMacNab

Tilda Swinton recalling the processof working on THE LAST OF ENG-LAND with Derek Jarman suggeststhat he was the latest in a longline of avant-garde artists whoworked with film.

STILLSNo.26. April 1986, p. 11

Renaissance Man, by MartinSutton

Derek Jarman talks about JUBILEEand CARAVAGGIO. He reveals thatas a painter he has always had aspecial fondness for silent cinemaand suggests that CARAVAGGIO isas much about the tableau asDreyer’s JEANNE D’ARC.

VERTIGOVol.2. No.4. Spring 2003 p. [i]

In the spirit of Derek Jarman, byTilda Swinton

An extract from an address givenby actor Tilda Swinton at the 2002Edinburgh International FilmFestival. She reminisces about hercollaboration with Derek Jarmanand gives a vivid impression ofwhat it was like to work with him.

VERTIGOVol.1. No.3. Spring 1994 p.63

Derek Jarman, by Sally Potter

A personal tribute from fellowfilmmaker Sally Potter writtenshortly after Derek Jarman’sdeath which gives an insight intohis working practice.

press articles

Held on microfiche at The BFINational Library.

THE LISTENER16 August 1990 pp.7-10

Positive Thinking, Derek Jarmantalks to psychiatrist Dr. AnthonyClare.Broadcast on 15 August 1990.

Derek Jarman recalls his childhoodinfluences and how they con-tributed towards his work as apainter and filmmaker.

WHAT’S ON24 April 1986 p.49

Love and paint and the wholedamn’ thing, by Phillip Bergson

Derek Jarman relates some of hisdetailed preparations for filmingCARAVAGGIO. He describes how heplaced on Caravaggio’s work-tablethe pots in which he used to mixhis own colours at the age of 18.

SUNDAY TIMES20 April 1986 p.45

Verging on the respectable, DerekJarman talks to Mick Brown

A discussion of Derek Jarman’swork mainly centred on CARAVAG-GIO and its troubled pre-produc-tion history. The article also touch-es on the reaction of Mrs. MaryWhitehouse to SEBASTIANE.

SUNDAY TIMES17 January 1988 p.9

Freedom fighter for a vision of thetruth, by Derek Jarman

A reply to the reported criticism ofBritish films by Oxford historianNorman Stone. Derek Jarman givesan interesting account of his workclaiming that his cinema has “tra-dition and history”.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 5

Caravaggio (1986)

“Memory leaves behind other memo-ries. We swim in an ocean of falsememory, sustained by electronicmedia”.- Chris Marker.

Much of the information regardingthe life and work of Chris Marker,photographer, filmmaker, novelist,essayist, journalist, multimediaand installation artist, designerand world traveller, is sparse andcontradictory. Marker is most wellknown as a politically committed,left-wing documentary filmmakerand traveller, observing andrecording his impressions of peo-ple and places. However, Marker,born Christian François Bouche-Villeneuve in 1921 is also notori-ously elusive and seldom gives for-mal interviews and is rarely pho-tographed.

Marker was part of what wascalled the “Left-Bank” faction ofthe New Wave, filmmakers whocame from more literary back-grounds and were more overtlypolitical in their aims than the“Right Bank”, who were more com-monly associated with Cahiers duCinema. Marker has often beencredited with conceiving the cine-matic essay form, with which film-makers such as Jean-Luc Godard,Orson Welles, Federico Fellini, PierPaolo Pasolini, Chantal Akerman,Wim Wenders, Abbas Kiarostami,Nanni Moretti, and Agnès Vardahave had varying levels of success.Although the model for the cine-matic essay has its precedents inthe early work by Luis Buñuel andAlain Resnais (with whom Markerfrequently collaborated) amongothers, Marker’s position within

the context of the development ofthe essay, such as his first widelyacclaimed film LETTRE DE SIBÉRIE(1957), should not be overlooked.

Marker was also instrumental inthe development of collective-filmmaking during the 1960s. Heformed the film co-operative SLON(Société pour le Lancement desOeuvres Nouvelles) originally tomake the film FAR FROM VIETNAM(1967) The film featured segmentsby numerous filmmakers gatheredtogether by Marker such as, AlainRenais, Claude Lelouch, WilliamKlein, Agnes Varda and Jean LucGodard. The SLON co-operativewent on to make 3 more films ofnote including LA SIXIÈME FACE DUPENTAGONE (1968) about the peacemarch on Washington, THE BATTLEOF THE 10,000,000 (1970) about abreak down in the Cuban sugarcrops and THE TRAIN ROLE ON(1971).

Marker’s best-known work to dateis the science fiction classic, LAJETÉE (1962). The film, (a 29 minuteshort) is a kind of meditation ontime-travel, image and memorymade up almost entirely of blackand white still photographs. LAJETÉE was pressed further into thepublic consciousness when TerryGilliam adapted it for his filmTWELVE MONKEYS (1995). SANSSOLEIL/SUNLESS (1982) is Marker’sother most popular film, a trave-logue of visual images in which anunidentified woman recounts in aseries of letters the experiences ofa fictional cameraman namedSandor Krasna. Moreover, the filmprovides a subtle and powerfulcommentary on modern con-sumerist society and the plight ofnon-Western “developing” nations.

Whether using photography orfilm, books or essays, multimediainstallations or travelogues,Marker’s work is constructed asmultiple layered, contradictorytexts that juxtapose image andwords, language and music, realityand fiction, time and space alongan abstract line of past/futurememory.

booksDUBOIS, PhilippeThéorème: Recherches Sur ChrisMarker.Presses Sorbonne Nouvelle 2002.193p, illus., filmog.

This edition of Théorème assem-bles a selection Marker’s workcompleted over many years andcollated by l’UFR Cinéma etAudiovisuel de l’Université Paris.This book is written in French.

GAUTHIER, GuyChris Marker: Écrivain MultimédiaAu Voyage À Travers Les Médias.L’Harmatten, Paris. 2001. 222p.

This book looks at Marker’s explo-rations into new innovations inthe moving image. The book iswritten in French and is accompa-nied by a CD ROM.

KEAR, JonSans Soleil /Sunless.Flicks Books, 1999. 59p., bibliog..

SANS SOLEIL or SUNLESS (1982) isessentially a travelogue or visualessay in which an unnamed film-maker recounts in a series of let-ters his experience of returning toJapan. Moreover, the film providesa subtle and powerful commentaryon modern consumerist societyand the plight of non-Western“developing” nations. The book, ofthe same name by Jon Kear, looksat how Marker’s distinctive use ofintertextuality is finely woven intohis examination of memory, sub-jectivity and the changing rela-tionship between past and pres-ent. The chapters ‘Image andSound’ and ‘Time, Place andMemory’ are essential readings forgaining a clearer understanding ofthe film and Marker’s methods offilmmaking.

MARKER, ChrisLA JETÈE: Ciné-Roman.Zone Books, New York, NY 1992.unpaged., illus.

This is the illustrated book versionof the legendary 1964 science-fic-tion short film of the same name.Like the film, LA JETÉE the book,consists entirely of black and

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 6

chris marker

white photographs and depicts theworld in the aftermath of WorldWar III were both the earth’s sur-face and history lies irretrievablyburied in a heap of radioactivedevastation. The war’s few remain-ing survivors live undergrounddesperately seeking an alternativepath to survival – one that perhapspasses through Time. A man ischosen for his unique quality ofhaving retained a single clearimage from pre-war days and ele-ments from this image become thehinge-points in the ensuing narra-tive.

The book features all the still pho-tographs, taken by Marker, and thedialogue from the film in Frenchand English.

POURVALI, BamchadeChris Marker.Cahiers du Cinéma. 2003. 95p., illus.

This book presents a very informa-tive introduction into the life andwork of Chris Marker. This editionis written in French.

ROTH, Laurant/ BELLOUR,RaymondA Propos Du Cd-Rom: ImmemoryDe Chris Marker.Centre Georges Pompidou, 1997.157p., illus., filmog.

This book accompanies the publi-cation of the CD-ROM IMMEMORY,offering a few tools for the specta-tor-navigator.

essays/documents

HORAK, Jan-Christopher‘Chris Marker: PhotographicJourneys’ in Making Images Move:Photographers And Avant-GardeCinema.Smithsonian Institution. 1997. 296p.,bibliog. Filmog.

As well as his work as a journalist,novelist, essayist and filmmaker,Marker was also a published pho-tographer. Although never pub-lished in English and his earlybooks being out of print in Europe,Marker has published at least sixphotography books. Marker’s con-tinuous fascination with still pho-tography is epitomized in filmslike, LA JETÉE (1962) and SI J’AVAISQUATRE DROMADAIRES (1966),which consist entirely of photographs.

This chapter looks closely atMarker’s work as a photographer,exploring his many influences andstyles, which like his films are acomplex mixture of documentary,diary, essay memoir and fiction.

HOWE, Susan“Sorting Facts; or, Nineteen Waysof Looking at Marker”in BEYOND DOCUMENTS: ESSAYSON NONFICTION FILM By WAR-REN. C (Ed.)Wesleyan University Press, 1996.366p., illus., bibliog..

This chapter, as the title suggests,explores nineteen ways of lookingat the work of Chris Marker. Thechapter covers many of his filmsfrom LA JETÉE (1962) to SANS SOLEIL(1982) and CUBA SI (1961) whilsthighlighting the similaritiesbetween Marker’s work and that ofthe Russian director AndreiTarkovsky who often mixed docu-mentary footage with fiction.

NAFICY, Hamid“Epistolarity and EpistolaryNarratives: Letter Films: ChrisMarker” in An Accented Narrative:Exilic And Diasporic FilmmakingPrinceton University Press, NewJersey. 2001. 374p. illus., appendices,bibliog..

This extensive chapter looks at theemergence of the “letter film”. The‘letter film’ works in contrast tothe classically omnipresent narrat-ed film and narrative system.Instead, a stream-of-conscious-ness technique is applied. A free,direct style that works in conjunc-tion with images edited withoutregard for the demands of a coher-ent plot, character psychology orgenre convention. This chaptergoes on to look at two of Marker’sfilms that employ this technique,LETTRE DE SIBÉRIE (1957) and SANSSOLEIL (1983).

journal articles

FILM COMMENTVol.39. No.3. May/June 2003 pp.33-34

Marker Direct, by Samuel Douhaireand Annick Rivoire

A rare interview with the illusiveand secretive director originallypublished in ‘Liberation’ in March2003.

FILM COMMENTVol.39. No.4. July/Aug 2003 pp.32-50

Kino Eye: The Legacy of SovietCinema as Refracted ThroughChris Marker’s Always-CriticalVision,by Paul Arthur.

This is an interesting ‘article’ writ-ten as a letter to Chris Marker con-cerning his affinity towards Sovietfilm.

FILM CRITICISMVol.24. No.3. Spring 2000 pp.1-22

The History of the Future in Paris:Chris Marker and Jean Luc Godardin the 1960s, by Lee Hilliker

This is an excellent article thatexplores the rarely mentionedconnection between the FrenchNew Wave and futuristic fiction.Hilliker looks at Marker’s medita-tion on time-travel, image andmemory, LA JETÉE (1962) and JeanLuc Godard’s sci-fi/noir hybridALPHAVILLE (1965).

FILM QUARTERLYVol.32. No.3. Spring 1979 pp.38-46

Chris Marker: The SLON Films, byWilliam F. Van Wert

This essay looks at the influenceChris Marker had on collective-filmmaking during the 1960s.Marker formed the film co-opera-tive SLON (Société pour leLancement des Oeuvres Nouvelles)originally to make the film FARFROM VIETNAM (1967) The film fea-tured segments by numerous film-makers gathered together byMarker such as, Alain Renais,Claude Lelouch, William Klein,Agnes Varda and Jean Luc Godard.

The SLON co-operative went on tomake 3 more films of note includ-ing LA SIXIÈME FACE DU PEN-TAGONE (1968) about the peacemarch on Washington, THE BATTLEOF THE 10,000,000 (1970) about abreak down in the Cuban sugarcrops and THE TRAIN ROLLS ON(1971). The article goes on to lookat these films in detail.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 7

FILMWAVESNo.12. Summer 2000 pp.36-37

Chris Marker, by DarrenChesworth

This is a brief and engaging articleexploring the life and work ofMarker, which after nearly half acentury, argues Cheswoth, stillencourages and draws the specta-tor in to look again a second orthird time.

FILMWESTNo.37. July 1999 pp.20-22

Chris Marker: Marking Time, byGerry McCarthy

This article looks at the life andwork of Marker and the influencesthat have marked his career.McCarthy pays particular attentionto Marker’s interest in science fic-tion, for example the use of time-travel in LA JETÉE (1962) and com-puter technology, communicatonsand video games in the film LEVELFIVE (1997)

THE INDEPENDENT REVIEW18 May 1999 p.9

Who is Chris Marker? by KevinJackson

This article asks the question,“Who is Chris Marker?” andattempts to answer this by way oflisting 13 things the author knowsabout Marker.

THE LISTENERVol.112. No.2875.13 Sept 1984 p.33

Meeting With the Other, byRichard Combs

Short article discussing the up-coming screening of SANS SOLEIL(1982) on Channel 4 less than twomonths after the films theatricalrelease.

LITERATURE FILM QUARTERLYVol.32. No.3. 1979 pp.38-46

Marker and Renais: Myth andReality, by Silvio Gaggi

This article explores the relation-ship between Marker and AlainRenais. Frequent collaborators,their films resonate with eachother even when Marker andRenais are working separately.Both filmmakers are not only con-cerned with the nature of timeand memory but also they are fas-cinated by the photographic imageas a “record of a moment of reali-ty”. This article looks closely atMarker’s, LA JETÉE (1962) andRENAIS’ NUIT ET BROUILLAR (1955).

MILLENNIUM FILM JOURNALNo.14-15 Autumn/Winter 1984/85pp.173-177

In The Spiral of Time, by YvetteBiro

This article looks closely atMarker’s SANS SOLEIL (1982) andthe films contemplations abouttime and memory. Biro outlinesthe four movements that reveal

the films inner symmetry, includ-ing Marker’s homage toHitchcock’s Vertigo and the filmssuggestion about the spiral oftime.

MILLENNIUM FILM JOURNALNo.29. Autumn 1996

Primitive Projections: ChrisMarker’s Silent Movie, by JoeMcElhaney

An interesting article that looks atMarker’s second video installationSILENT MOVIE (1995) following themonumental ZAPPING ZONES (1990)five years earlier.

MONTHLY FILM BULLETINVol.51. No.606. July 1984 pp.196-197

This is an excellent reading ofMarker’s classic ‘travel letter’ SANSSOLEIL (1982). The article makesreference to all the key elementswithin the film such as, the rela-tion between images in space andtime, the investigation into memo-ry and it relation with the imageand the rituals and practices thatsummon up the past in the pres-ent.

The article is accompanied by arare interview/discussion betweenMarker and a computer.

REALTIMENo.27.October-November 1998 p.18

Technologies of Memory, byAdrian Miles

This short article argues, that con-trary to many critics who believeMarker adopts and adapts tech-nologies to translate his particularessayist style of filmmaking,Marker has been “adopted andadapted by the 20th Century’sprinciple technologies of record”.

SCREENVol.44. No.1. Spring 2003 pp.58-70

Terminal Replay: Renais Revisitedin Marker’s Level Five, byCatherine Lupton

This is another article examiningthe influence of Alain Renais onChris Marker’s work, paying partic-ular attention to Marker’s 1997film LEVEL FIVE.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 8

La Jetée (1962)

SIGHT AND SOUNDVol.53. No.4. Autumn 1984 pp.284-288

Marker Changes Trains, by TerenceRafferty

This is an excellent article onSANS SOLEIL (1982) that pays par-ticular attention to Marker’s edit-ing technique and shot selectionand, agues Rafferty, are the quali-ties that distances Marker’s workbeyond even his own influences,such as Vertov and Eisenstein.

This article also discusses the sim-ilarities in theme of LA JETÉE(1962) and LE JOLI MAI (1962). Bothfilms were shot in the same yearand Rafferty makes reference toeach films attempt to, “achieveperspective on the moment oftransition between traumatic pastand an unforeseeable future”(Rafferty)

SIGHT AND SOUNDVol.42. No.2 Spring 1973 pp.82-83

SLON, by Richard Roud

Another article looking at the workaccomplished by Marker’s film-makers co-operative SLON. SLONthought of themselves “not as anenterprise but as a tool – a tool tomake films which, as they claim,“ought not to exist” (Roud)

SIGHT AND SOUNDVol.4. No.7. July 1994 p13

Insane Memory, by Chris Petit

This one-page article discusesMarkers use of memory, one of thethemes most prevalent in hisfilms, and how it is used in filmslike, LA JETÉE (1962) and THE LASTBOLSHEVIK (1992), as the bridgebetween Marker’s other twofavored themes, time and space.

VERTIGOVol.2. No.7. Autumn/Winter 2004pp.6-7

A Chris Marker Compendium, byCatherine Lupton

This is a short concise articleintroducing some of the keythemes and ideas in Marker’sfilms. The article looks at six spe-cific themes that have both influ-enced his films and Marker’s poli-tics.

VERTIGONo.7. Autumn 1997 pp.35-38

The Mind’s Eye: Chris Marker’sLevel Five, by Allan Francovich

This article examines Marker’sfilm LEVEL FIVE (1997) andincludes a rare interview with thedirector by Delores Walfisch

websites

http://www.sensesofcinema.com/contents/directors/02/marker.html

This is an informative essay onChris Marker’s life and work. Alsofeatures a bibliography and someuseful links.

http://www.cyberbohemia.com/o.w.l./

Small but useful site that summa-rizes some of the many facets ofMarker’s work.

http://www.iua.upf.es/formats/formats2/luc_a.htm

Chris Marker: The PoliticalComposition of the Image.Introduction to the first image ofSANS SOLEIL (1983) by Gonzalo deLucas

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 9

Sans Soleil (1983)

1918-1999.

Little has been written about theOrcadian film maker and poetMargaret Tait. In August 2004 amajor retrospective of her filmswas held at the EdinburghInternational Film Festival fol-lowed in November by a touringprogramme of her work andaccompanying book from LUX. Sheproduced over 30 mainly self-made and financed films and alsopublished three books of poetryand two of short stories.

‘Margaret Tait described her life’swork as consisting of making film-poems. She often quoted Lorca’sphrase of ‘stalking the image’ todefine her philosophy andmethod, the idea that if you lookat an object closely enough it willspeak its nature. This clarity ofvision and purpose with an atten-tion to simple commonplace sub-jects combined with a rare senseof inner rhythm and pattern giveher films a transcendental quality,while still remaining firmly rootedwithin the everyday. Margaret oncesaid of her films, with characteris-tic modesty, that they are born of‘of sheer wonder and astonish-ment at how much can be seen inany place that you choose...if youreally look’.’LUX.

The following is a selection ofbooks, journal articles and news-paper cuttings on Margaret Taitheld by the BFI National Library.

books

LEGGETT, Mike Margaret Tait in A Directory ofBritish Film & Video Artists, editedby Curtis, David(Luton: John Libby Media/London:Arts Council of England, 1996), pp190-192.

Overview of her career and work.

TODD, Peter and COOK, Ben,Editors Subjects and Sequences AMargaret Tait Reader.London, LUX, 2004. 178p.

First book on Tait including piecesby Ute Aurand, Gareth Evans, Lucy

Reynolds, and Ali Smith, togetherwith a selection of poems, publici-ty sheets, and interviews with Taitherself edited by David Curtis.

WINN, Joss, Preserving The Hand-PaintedFilms of Margaret Tait.M A dissertation, University of EastAnglia, Norwich, 2002, unpublished

A study of the hand painted filmsin particular CALYPSO with specif-ic consideration to the preserva-tion and archiving of them.

journal articles

NATIONAL FILM THEATRE BOOKLETOctober 2000, pp 34-35

Margaret Tait, by Ben Cook andPeter Todd

Details of the tribute screenings atthe National Film Theatre.

VERTIGONo.9. Summer 1999, pp 62-63

Britain’s OldestExperimentalist...Margaret Tait, byDavid Curtis

Tribute following her death writ-ten by David Curtis, formerlySenior Visual Arts Officer at theArts Council of England.

UNDERCUT No.7/8. Spring 1983, pp.17-19

On the Mountain and Land Makar:Landscape and Townscape inMargaret Tait’s Work, by TamaraKrikorian

Analysis and description of two ofTait’s longer films, ON THE MOUN-TAIN which captures the changesin Rose Street Edinburgh where formany years Tait had her base, andLAND MAKAR a study of study ofan Orkney croft (next to where Taitherself was living at the time), andthe woman who runs it, MaryGraham Sinclair.

POEM FILM FILM POEMNo. 6. 2000, pp.1-12.

Margaret Tait Film Maker 1918-1999: Indications InfluenceOutcomes complied, by Alex Pirie

A selection of various quotes, writ-ings, and poems from a number ofsources, selected by Alex Pirie whowas Margaret Tait’s husband.

SENSES OF CINEMANo 33, Oct-Dec 2004.http://www.sensesofcinema.com/contents/festivals/04/33/edinburgh2004.html

Aspects of Change: The 58thEdinburgh International FilmFestival George Clark

A review of the 2004 Edinburghfestival including several para-graphs at the end on the retro-spective of Margaret Tait films.

VERTIGOVol 2. No 7. Aut/Wint 2004, pp.53-55

Remembering Margaret Tait (1918-1999) A Deeper Knowledge ThanWisdom, compiled by Peter Todd

A version of the LUXONLINE essayby Peter Todd, together with shortcontributions from other filmmakers Ute Aurand (reprinted inSubjects and Sequences AMargaret Tait reader), AnnabelNicolson, and Sarah Wood.

press articles

INDEPENDENT12 May 1999, p.6

Margaret Tait, by Murray Grigor

Obituary by film maker MurrayGrigor who as director of theEdinburgh International FilmFestival organised the 1970Margaret Tait retrospective.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 10

margaret tait

GUARDIAN 31 March 1993, pp.8-9

First Person Highly Singular, byJan Moir

Interview and overview of hercareer at the time of making herfeature length work, Blue BlackPermanent.

DAILY TELEGRAPH 23 August 2004, p.17

Unique Vision of a Film Poet, bySukdev Sandhu

Prevew of the 2004 EdinburghInternational Film Festival retro-spective of Tait’s work.

FINANCIAL TIMES9 September 1970

Margaret Tait, film-maker, byElizabeth Sussex

Review of the retrospective at the1970 Edinburgh International FilmFestival.

GUARDIAN13 May 1999, p.22

Margaret Tait, by Elizabeth Sussex

Obituary.

TIMES28 May 1999, p.31

Margaret Tait

Obituary.

websites

LUX

www.lux.org.uk/margarettait

The distributor of Margaret Taitfilms including the touring pro-gramme Subjects and Sequences.The LUXONLINE section of thewebsite includes pieces onMargaret Tait by Ali Smith andPeter Todd.

Poetry Library

www.poetrylibrary.org.uk

The library holds reference copiesof Margaret Tait’s three books ofpoems.

Scottish Screen Archive

www.scottishscreen.com

The major collection of her filmsand film materials and her shorthand painted film Calypso online.

AHRB artists’ Film and VideoStudy Collection

www.studycollection.org.uk

Based at Central St. Martins,University of the Arts, London thecollection holds interviews andother paper based materials.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 11

Margaret Tait

introduction

Kenneth Anger, Stan Brakhage andAndy Warhol may have been mar-ginalized as “experimental” or“avant-garde” filmmakers, butmuch of what we see onscreentoday can be traced back to them.Their influence permeates main-stream cinema and music videos,Heat magazine and even highstreet fashion.

Studying any of these filmmakersentails entering unique worldsinhabited by family, friends, stars,magick and mythology. It involvesseeing and hearing the seeminglyfamiliar, but feeling a frisson at itsoriginality.

Although strikingly different, theworks of all three men pushedartistic boundaries that were bothtechnical and cultural. For exam-ple, a young man’s fantasies,played out in FIREWORKS; a youngcouple making love in ANTICIPA-TION OF THE NIGHT; the freakshowexuberance of TRASH. All revealthe underground’s ability to offerreflections of sexuality, hithertohidden away. And on anotherlevel, Kenneth Anger’s use of pop-ular music in SCORPIO RISING maybe perceived as a precursor to themusic videos taken for grantedtoday.

Anger and Warhol took the refer-encing, exploration and exploita-tion of Hollywood to new heightsof sadistic fascination, fuelling anddefining an obsession, which hasemerged as our common currency.All three filmmakers presentedstars as both fabulous and tar-nished; the misery behind theglamour; forming an unpleasantEden where everyone can dreamof becoming a star if we wantedto… And Brakhage’s technicalinnovations, with light and thefilm material itself in DOG STARMAN and MOTHLIGHT were utterlygroundbreaking, furthering theidea of film as a visual language;as art. Brakhage’s vibrant repre-sentation of his family in his filmsas a counterpoint to the moderngarish equivalent of reality TV pro-grammes.

The following books, articles andcuttings offer a mix of biographicalinformation, filmographic detail,and analysis. The ideas andthoughts, which they contain,indicate that the works of thesefilmmakers can be explored onmany, many different levels.

As there is a certain amount ofoverlap in the discussions of theAmerican Avant-garde film andsome of the filmmakers were con-nected either through film soci-eties such as Cinema 16 or theFilmmakers Co-operative, or justthrough ideas, this section coversbooks that are about two or all ofthe above filmmakers.

booksDIXON, Wheeler Winston and FOS-TER, Gwendolyn AudreyExperimental cinema, the filmreader.Routledge, 2002. ix, 356 p.; illus.notes. bibliog. index.

An important reference work foranyone studying American experi-mental cinema. Tracing the histo-ry of avant-garde filmmaking fromthe 1920’s to more recent filmmak-ers, this collection of essays focus-es primarily on the filmmakersthemselves in order to examinethe wider aspects and styles ofexperimental cinema. Anger,Brakhage and Warhol are featured,with chapters devoted to each ofthem.

DURGNAT, RaymondSexual alienation in the cinema.Studio Vista, [1974]. 320p. illus.

Written in 1974 and appraising thechanging sexual dynamics ofmany national cinemas andunderground filmmakers such asKenneth Anger and Andy Warhol.In the chapter titled ‘Private Worlds’he examines the sexual symbol-ism in Anger’s films, whilstdescribing the sexuality inWarhol’s films as “derisory real-ism” and “how a clutch of NewYork freaks behave in front of acamera”. An interesting history ofthe subject and the part played byboth filmmakers in pushing theboundaries of what can be seen on screen.

JAMES, David E.Allegories of cinema: Americanfilm in the sixties.Princeton University Press, 1989.388p. illus. bibliog. filmog. index.

An excellent history of Americanexperimental film in the 1960’s.With chapters on Stan Brakhageand Andy Warhol and mention ofKenneth Anger, this book is a goodsource of contextual informationand theory.

MACDONALD, ScottCinema 16: documents toward ahistory of the film society.Temple University Press, 2002. xiii,468 p.; illus. index.

Cinema 16 ran from 1957 –1963and was one of the most impor-tant of America’s film societies. Itexhibited films that wouldn’t nor-mally have been screened any-where else and showcased manyfilms by experimental filmmakers.This collection of documents andletters between Amos Vogel (thefounder of Cinema 16) and film-makers such as Kenneth Angerand Stan Brakhage. These lettersoffer an interesting glimpse intothe day-to-day realities of being afilmmaker outside of the main-stream.

SUAREZ, Juan AntonioBike boys, drag queens, andsuperstars: avant-garde, mass cul-ture and gay identities in the1960s underground cinema.Indiana University Press,1996. viii-xxviii. 353p. illus. filmog. bibliog.index.

With chapters on both KennethAnger and Andy Warhol, Suarezpositions the work of both Angerand Warhol within a queer theo-retical context. Anger’s SCORPIORISING is comprehensivelyexplored and there is a useful cri-tique of his earlier works. The dis-cussion of Andy Warhol’s workfocuses less on the actual filmsbut rather on how they are part ofWarhol’s commodifcation of art;art as business, and that Warhol’savant-gardism sprang as muchfrom entrepreneurial as artistic tendencies.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 12

anger, brakhage & warhol

TINKCOM, MatthewWorking like a homosexual: camp,capital, cinema.Duke University Press, 2002. x, 226 p.;illus. bibliog. index.

An examination of how post-World War II “gay male subcul-tures” have not only consumedmass culture but produced it aswell. Focusing particularly onfilm, Tinkcom examines the ten-sions between high and low artand between good and bad taste.Both Warhol and Anger’s films areexplored within the queer/campframework but Tinkocm then addsideas about economics, noting that‘camp’ can be seen as a form of“queer industrial labour” to beboth produced and consumed.There are many interesting ideashere, but the theorising can limitunderstanding sometimes.

WEES, William C.Light moving in time: studies inthe visual aesthetics of avant-garde film.University of California, 1992. 199p.illus. bibliog. index.

Looking at the visual aesthetics ofa number of Avant-garde filmmak-ers, Wees asserts that while theymay have different subjects andstyles of filmmaking, what unitesthem is that they have takenadvantage of “the avant-gardespirit of experimentation” and thatthey can be viewed as “visualartists” devoted to exploring whatthe “eye” sees. The chapter onStan Brakhage ‘Giving sight to themedium: Stan Brakhage’ examineshow Brakhage plays with our visu-al senses almost taking us back toa naïve or childlike way of seeing.In contrast the chapter onKenneth Anger ‘Working in the light:Kenneth Anger’ explores how Angeruses light in his films.

booksANGER, KennethHollywood Babylon.Straight Arrow Books, 1975. 305p.illus. index.

On the surface this can be seen asa very entertaining, very gossipybook, with the creepier side ofHollywood history laid bare (liter-ally in some cases). However, it isalso can be read as part ofKenneth anger’s ongoing fascina-tion and antipathy towardsHollywood and the projectedglamour of the stars and thesometimes grim reality andhypocrisy behind it all.

ANGER, KennethHollywood Babylon II.Straight Arrow Books, 1986. 324p.illus. index

More of the same, with even morerevelations.

DWYER, SimonRapid Eye 3.Creation Books, 1995. - 25Op. illus.appendix.

In the chapter titled ‘Blue velvet:myth and symbolism in the work ofKenneth Anger’ Carel Rowe beginsby noting how the technical per-fectionism of Kenneth Angerenabled him to “perform cinematicarabesques of delicacy and com-plexity” and push the symbolicrepresentations in his films. Roweexamines Anger’s films within asymbolist tradition and how thenotion of decadence is played outin contrast to depictions by JackSmith and Andy Warhol.

GEDULD, Harry MFilm makers on filmmaking: state-ments on their art by thirty direc-tors.Indiana University Press, 1967. 302p.

A collection of interviews andessays with the cinema’s foremostdirector’s of the day. KennethAnger is interviewed primarilyabout SCORPIO RISING and KUSTOMKAR KOMMANDOS. While there arethe usual questions about ‘Magick’Anger’s opinions on the changingpop culture of the time makes forinteresting reading.

HALLER, Robert AKenneth Anger.Walker Art Center, 1980. 23p. illus.bibliog. filmog.

Though brief, this provides anexcellent introduction to theworks of Kenneth Anger. Includesan interview with Anger and anessay on RABBITS’ MOON.

HUNTER, JackMoonchild: the films of KennethAnger: persistence of vision vol-ume 1.Creation Books, 2002. - 128 p.; illus.filmog. bibliog.

Describing itself as the “definitivestudy of one of cinema’s mostcharismatic yet elusive innova-tors”, this volume does indeedattempt to delve into the majorinfluences of Anger’s life and worki.e. the occult, popular culture andthe films as Magick. A highlydetailed but very readable book,that is essential for anyone study-ing not only Anger, but also exper-imental cinema in general.

HUTCHISON, Alice L.Kenneth Anger: a demonic vision-ary.Black Dog Publishing, 2004. 257p.illus. filmog. bibliog. index.

An absolutely essential book foranyone studying Kenneth Anger.Beautifully illustrated with draw-ings, stills and other photographicimages. Place Anger’s work in the“social and artistic context of thetwentieth century” Hutchinson’swork is a significant study of theartist taking it right through to hismost recent projects. Featuring

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 13

kenneth anger

commentaries from other writersand filmmakers, this book comescloser than most to doing justiceto Anger’s work.

LANDIS, BillAnger: the unauthorized biogra-phy of Kenneth Anger.HarperCollins, 1995. - 290p. [8] plates.index.

A hugely absorbing biography; theresearch is exhaustive and aims tofill-in the gaps in Anger’s life andfilms. This is an excellent sourceof information and manages toremain sympathetic to its subject.

PILLING, Jayne and O’PRAY, MikeInto the Pleasure Dome: the filmsof Kenneth Anger.British Film Institute,1989. 76p. illus.bibliog. filmog.

A series of essays that delve intothe myths, rumours, history andhearsay surrounding KennethAnger. As complete a study as youcould hope to read and with anexhaustive and annotated filmog-raphy.

POSNER, Bruce and JAMES, DavidE.Unseen cinema: early Americanavant-garde film 1893-1941.Black Thistle Press/Anthology FilmArchives, 2001. 160 p.; illus.

Written to coincide with a touringexhibition of previously ‘lost’ earlyAmerican Avant-garde films,Kenneth Anger’s essay is about thesilent film SALOME, starring andproduced by Alla Nazimova. Aninteresting account of the film,this again highlights Anger’s inter-est in Hollywood history and lore.

journal articles

FILMS IN REVIEWVol.48. No.1/2.Jan/Feb 1997, pp.16-25

Look back with Kenneth Anger, byRoy Frumkes

An interesting interview withAnger that focuses more on thebeginning of his career and in par-ticular the twelve years he spentin Paris and working at theCinematheque. There is also along discussion of the tribulationsof the making of LUCIFER RISING,

including details of how the origi-nal footage was stolen by its star(and Charles Manson acolyte)Bobby Beausoleil. Includes a fil-mography at the end.

WIDE ANGLEVol.18. No.4 October 1996, pp.74-92

An interview with Kenneth Anger,by Kate Haug

An exhaustive interview withAnger that covers a range of top-ics, from his views on documen-tary filmmaking to the backgroundto the bikers filmed in SCORPIORISING. Though covering many ofthe same themes that crop-upcontinually in interviews or dis-cussions of Anger’s work, Haug’squestions approach the subjectsfrom a different angle, lending theinterview a certain depth.

CITY LIMITSNo.432. 11 January 1990, p.28

Exposures: look back at Anger,Rebekah Wood

To coincide with a retrospective ofKenneth Anger films beingscreened at the National FilmTheatre, though a brief article,Wood discusses Anger’s life andcareer with particular focus on theinfluence SCORPIO RISING has hadon other filmmakers and the mak-ing of both INVOCATION OF MYDEMON BROTHER and LUCIFER RIS-ING.

ON FILMNo.11. Summer 1983, pp.40-47

Profile of Kenneth Anger, by JackEnglish

An at times seemingly fraughtinterview with Kenneth Angerwho seems to be at his most con-frontational. Though almost ven-omous in tone, Anger does haveinteresting (if potentially libellous)things to say about his life, influ-ences, career and other people.However, Anger does give a wordof warning at the beginning con-cerning all interviews he gives:“…what I say applies to the moodof my moment”.

MONTHLY FILM BULLETINVol.49.No.584. Sept 1982, pp.192-193

The elusive Lucifer, by Tony Rayns

Rayns’ attempts an overview ofAnger’s career from 1966 to date ofwriting and “to cut through someof the confusion surrounding thedifferent versions of LUCIFER RIS-ING”. Interesting for the accountof anger’s life and career at thispoint and for the chaotic, incident-filled undertaking that seems tohave been LUCIFER RISING.

CINE-TRACTSVol.5 No.1. Sum/Aut 1982, pp.25-31

Before “Lucifer”: preternaturallight in the films of KennethAnger, by Kenneth C. Wees

This essay is an examination intohow light is used in KennethAnger’s films. In the context ofthe article the term “preternaturallight” is a term taken from AldousHuxley and means “the peculiarluminosity of objects seen duringa visionary experience”. Weesmakes the claim that despiteAnger’s claims to be “an artistworking in light…and that’s mywhole interest really. Lucifer is theLight god”, that in reality there is apreternatural light in his pre-‘Lucifer’ films. This is an interest-ing if lengthy article with ideasthat verge on the almost fantasti-cal, however it is probably only ofinterest to the serious Anger-phile.

MILLENNIUM FILM JOURNALNo.10/11.Aut/Wint 1981/82, pp.123-39

Rabbit’s Moon: the Pierrot figure intheatre, painting and film, by LucyFisher

An analysis of RABBIT’S MOON afilm that Anger had re-shot andre-edited over a period of twentyyears. The subjects of the film arethe traditional figures of Pierrot,Harlequin and Columbine andFisher examines the symbolism ofthese characters and the other ele-ments of the film with regard tomythology and film theory dis-course. A detailed discussion ofone of Anger’s more “straight-for-ward” films.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 14

TIME OUTNo.572. 3 April 1981, p.27

Fire and brimstone, by Jack English

This is essentially an edited ver-sion of the interview between JackEnglish and Kenneth Anger thatappears later in a longer format inOn Film (No.11. Summer 1983).

AMERICAN FILMVol.6 No.5. March 1981, pp.16, 18, 78

Explorations: sympathy for thedevil, by J. Hoberman

This article is a useful and inform-ative account of the troubled his-tory and a critique of LUCIFER RIS-ING. Includes some other careerinformation as well and quotesfrom Anger.

AMERICAN FILMVol.1. No.6. April 1976, pp.78-82

The underground man: KennethAnger’s magic quest, by KennethTuran

An interview with Kenneth Angerand a discussion of his career andinfluences. This well-written,informative article would givemost people a basic understandingof Anger. As with much that iswritten about Anger though, thefocus is very much on Hollywoodand Aleister Crowley.

FILM QUARTERLYVol.27. No.4. Summer 1974, pp.24-33

Illuminating Lucifer, by Carel Rowe

A useful survey of Kenneth Anger’sbeliefs and the influence of theseon his filmmaking. The usualthemes of light, Crowley, magickand music are examined in detail.For the confused, uninitiated orthose new to the films of KennethAnger, this article is a good start-ing point in getting to grips withthe complexities of the mytholo-gy/ideas surrounding him.

TIME OUTNo.91. 12 November 1971, pp.48-49

Dedication to create make believe,by Tony Rayns and John DuCane

An interview to coincide with aseason of Kenneth Anger’s films

that were being shown at the NFT.This interview is neatly split intosections that mark the overridingthemes in Anger’s career, that ofHollywood and Magick and of theinfluence on his films, art and life.As would be expected with Anger’smore esoteric ideas the interviewcan sometimes be a little hard tofollow, however, this is essentiallya good overview of the man andhis career up to that point. Alsoworth reading for his less thanflattering view of Andy Warhol andthe difference between them.

AFTERIMAGEVol.1 No.2. Autumn 1970, pp.22-28

The avant-garde film: KennethAnger and George Landow, by P.Adams Sitney

Written upon the release of INVO-CATION OF MY DEMON BROTHER,this brief article contains manyuseful insights into Anger’s films,describing them as “rituals” andassessing both INVOCATION… andINAUGERATION OF THE PLEASUREDOME in detail.

CINEMA (U.K.)No.9. October 1969, pp.23-31

Lucifer: a Kenneth Anger kom-pendium, by Tony Rayns

A detailed account of the struc-tures, images and symbolism usedin Anger’s films. Touches on influ-ences such as Eisenstein andAleister Crowley. The articlemakes clear that Anger views hisfilms as a manifestation of hismagick rather than a watered-down influence on the films.

press articles

TIMES11 July 1969

Crowley film.

A very brief feature about KennethAnger’s proposal to make a filmabout Aleister Crowley.

TIMES12 July 1969

Bestial rights.

Article about potential copyright

problems facing Anger if he triesto film the life story Crowley, as hewould need permission from therights holders to use any ofAleister Crowley’s writings or thatof his biographer, John Symonds.

SUNDAY TIMES12 April 1970

Light up a Lucifer, by Philip Oakes

An account of the troubled makingof LUCIFER RISING and the prob-lems surrounding it. Also includesa brief profile of Anger.

FRIENDS 1418 September 1970, pp. 16-17

Aleister Crowley and merlin magick.

A thorough history of KennethAnger’s films up to the time ofwriting, with the emphasis defi-nitely on the ‘magickal’. Includesinformation on film projects thatwere never completed.

SUNDAY TIMES17 January 1971

Pretty, sexy and satanic, by MollyParkin

Though primarily an interviewwith costume designer, LauraJameson on the set of LUCIFER RIS-ING, this is a much more free-wheeling piece, with Parkin seem-ing to recall random bits of con-versation. Though not much isactually said about the film,Parkin’s approach offers a glimpseinto the period and people.

VILLAGE VOICE17 February 1972

Movie journal, by Jonas Mekas

A brief report by Mekas highlight-ing the legal problems that besetAnger in the 1970’s following pub-lication of the American edition ofHollywood Babylon. It was noth-ing to do with libel and everythingto do with none of the royaltiesfrom the American editions of thebook or subsequent film not goingto Anger, due to a legal loopholethat allowed Anger’s original book(first published in France) to becopied by an American publisher.This gives Kenneth Anger’s side of

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 15

the argument.

VARIETY23 February 1972

Ken Anger throws charges of pira-cy against Marvin Miller re:‘Babylon’

A report on the suit filed againstthe American publishers ofHollywood Babylon, Marvin Millerby Kenneth Anger and the originalFrench publishers Jean-JacquesPauvert.

VILLAGE VOICE17 May 1973

Movie journal, by Jonas Mekas

A long interview with KennethAnger about some of the problemsthat befell his film career ataround that time, including piracyand preservation of his films.Includes the interesting revelationthat Stan Brakhage helped per-suade Anger to return to Americaat the end of the 1960’s.

VILLAGE VOICE13 October 1975

Kenneth Anger, by Greil Marcus

Marcus writes about the film mon-tage put together by Anger basedon Hollywood Babylon. Describingthe show as “halfway between acelebration and a horror story”,this offers brilliant descriptions ofAnger and his enthusiasms.

SOUNDS2 September 1976

Anger rising, by Osiris

A feature on the sacking of JimmyPage (of Led Zeppelin) as composerfor the soundtrack for KennethAnger’s film LUCIFER RISING. Aninteresting account of a ratherbizarre and controversial incidentfrom the career of Kenneth Anger.

CINEMA TEXAS PROGRAM NOTESVol.11 No.1. 27 September 1976

Two films by Kenneth Anger.

Extremely detailed, fascinatingand literate programme notes toaccompany screenings of SCORPIO

RISING and INAUGERATION OF THEPLEASUREDOME.

GAY NEWSNo.116. 7-20 April 1977

Kenneth Anger, by GodfreyHamilton

Though most writing on Angerdoes mention the homoeroticqualities of both FIREWORKS andSCORPIO RISING, this article defi-nitely positions Anger as a gayfilmmaker. Very entertaining andgossipy in tone.

CINEMA TEXAS PROGRAM NOTESVol.14. No.2. 13 March 1978

Highly evocative, rich in detailwith literary allusions and quotes,these notes accompany screeningsof FIREWORKS, SCORPIO RISING andLUCIFER RISING (PART 1).

NEW MUSICAL EXPRESS13 April 1985, pp. 42-43

The gilded palace of sin, byKristine McKenna

An interview with Anger to markthe publication of HollywoodBabylon II. While primarily focus-ing on Hollywood this also gives agood insight into Anger’s filmcareer. An interesting and enter-taining read, with Anger in good-humour.

SUNDAY CORRESPONDENT14 January 1990, p.41

Stuff of dreams: look back withAnger, by Mick Brown

A profile of Kenneth Anger thatnotes that the Hollywood Babylonbooks were primarily written tofinance his films and how he fitted-into and was part of the more eso-teric parts of the 1960’s counter-culture. An entertainingread with a few interestinganecdotes.

GUARDIAN15 January 1990, p. 38

Evil be though my filmgood, by Michael O’Pray

To coincide with theGuardian Lecture that

Anger gave at the NFT, O’Praygives an overview of Anger’s filmcareer and the influence he hashad on other filmmakers such asDavid Lynch and Martin Scorsese.A concise but informative piece ofwriting.

SCOTSMAN WEEKEND27 January 1990, pp. III-IX

Anger and evil face up to MickeyMouse, by Lindsay Mackie

An interview focusing on theAnger’s (uncompleted) film aboutMickey Mouse that was financedby J. Paul Getty. All the usualAnger subjects are mentioned too,such as Holly wood Babylon,Crowley and his half-German,half-Scottish ancestry.

SUNDAY CORRESPONDENT5 August 1990, p. 1, 2

Fatman in Babylon, by KennethAnger

This is an essay on the ChristianBrando (son of Marlon) case writ-ten by Kenneth Anger. Interestingfor a glimpse into Anger’s style ofwriting and attitude to the down-fall of Marlon Brando. A highlyappropriate subject for the manbehind ‘Hollywood Babylon’.

TIME OUT27 February 1991, pp. 22-23

Beyond our Ken, by Alkarim Jivani

A profile of Kenneth Anger.Informative, but focuses more onhis writing career with the‘Hollywood Babylon’ books; hisrelationship with Hollywood, withsome mention of the ups anddowns of his filmmaking career. Agood source of information forAnger’s life from the 1980’sonwards.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 16

Invocation of My Demon Brother (1969)

books

BARRETT, Gerald R and BRABNER,WendyStan Brakhage: a guide to refer-ences and resources.G.K. Hall, 1983. 301p. bibliog. fil-mog. indices.

This guide is essential for anyoneundertaking research into StanBrakhage and his films. The biog-raphy at the beginning is incredi-bly useful and the synopsis of thefilms fantastic in their detail. Veryreadable.

BRAKHAGE, StanThe Brakhage lectures: GeorgesMelies, David Wark Griffith, CarlTheodore Dreyer, SergeiEisenstein.The Good Lion, 1972. 106p. plates.

A collection of lectures that weregiven as part of a film course.Brakhage offers a personal inter-pretation of the filmmaker’sworks, with the insight of oneartist to another.

BRACKHAGE, StanFilm biographies.Berkeley, Turtle Island, 1977. 295p.illus.

This collection comprises theessays from ‘The BrakhageLectures’ with additional writ-ings/biographies on other artistsas diverse as Jean Vigo and F. W.Murnau to Laurel & Hardy. AgainStan Brakhage’s style of writingcan take getting used to as hisstyle is quite conversational, how-ever, he does make many interest-ing points about his subjects.

BRAKHAGE, Stan and HALLER,Robert A.Brakhage scrapbook: collectedwritings, 1964-1980.Documentext, 1982. 262p. bibliog. fil-mog. index

Comprising a collection of essaysand letters. Though interesting attimes, the level of self-absorptionin the writings indicates that noone was more fascinated byBrakhage, than Brakhage himself.

BRAKHAGE, StanFilm at wit’s end: eight avant-garde filmmakers.Documentext, 1989. 183p. plates. fil-mogs. index.

Brakhage profiles eight avant-garde filmmakers, whom he haseither known or admired. Thefilmmakers are interesting inthemselves and Brakhage displaysan easy familiarity with the artistsand their works, but his relaxedstyle of writing can be irritatingafter a while.

BRAKHAGE, Stan and MCPHERSON,Bruce R.Essential Brakhage: selected writ-ings on filmmaking.Documentext, 2001. 232p.; illus. bibliog.

Taking, essays, poems and otherwritings from works such as‘Metaphors of vision’ and‘Brakhage scrapbook’, this is agood introduction to the writings,thoughts and inspirations of StanBrakhage.

BRAKHAGE, StanTelling time: essays of a visionaryfilmmaker.Documentext, 2003. 144p. illus.

Published just after Brakhage’sdeath, this collects essays hewrote for a Toronto-based avant-garde magazine ‘Musicworks’.Covering a range of subjects fromart to science, Brakhage takes abroad approach to his themes call-ing on many areas of knowledge tomake his point. As his editor,Bruce McPherson, points out in theintroduction, “a Brakhage essay isin its own right a work of continu-ity art”.

ELDER, R. BruceA body of vision: representationsof the body in recent film andpoetry.Wilfrid Laurier University Press,1997. v-viii, 400p. bibliog. index.

An examination of how the body isrepresented in culture. In thechapter ‘The body as the universein Stan Brakhage’s early films’Elder discusses Brakhage’s use ofthe body in DOG STAR MAN. Andin ‘The cognitive body…anotherview of the films of StanBrakhage’, Elder takes a broaderoverview and explores Brakhage’sfilms as a visionary experience,and the influence of poets, such asCharles Olson

ELDER, R. BruceThe films of Stan Brakhage in theAmerican tradition of Ezra Pound,Gertrude Stein and Charles Olson.Wilfrid Laurier University Press,1998. iii-xi, 572p.; bibliog. filmog.index.

An enthusiastic study ofBrakhage’s films comparing themwith the early American modernistpoetry. Whilst very thorough andcomprehensive and presenting aninteresting model for the interpre-tation of Brakhage’s films, thedense theoretical tone can be off-putting.

FIELD, SimonStan Brakhage: an American inde-pendent film-maker.Arts Council of Great Britain, [1979].45p. illus. bibliog.

A pamphlet produced to accompa-ny a touring exhibition of StanBrakhage’s films. Includes adetailed filmography and a veryuseful timeline placing Brakahge’swork within a cultural context.Also includes essays by StanBrakhage.

GRANT, Barry Keith and SLO-NIOWSKI, JeanetteDocumenting the documentary:close readings of documentaryfilm and video.Wayne State University Press, 1998.488p.; illus. bibliog. index.

A collection of essays on the

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 17

stan brakhage

breadth of documentary film mak-ing, past and present. In the chap-ter, ‘Seeing with experimental eyes’Bart Testa writes about StanBrakhage’s THE ACT OF SEEINGWITH ONE’S OWN EYES; Brakhagefilms in close-up six/seven autop-sies being performed in the citymorgue. An unsettling film towatch, Testa’s analytical approachto a difficult film can at times beequally disturbing. Be warned,stills from the film accomopanythis essay.

KELLER, MarjorieThe untutored eye: childhood inthe films of Cocteau, Cornell andBrakhage.Associated University Presses, 1986.268p. illus. bibliog. index.

Childhood and the family areimportant subjects in the works ofStan Brakhage. The chapter ‘StanBrakhage, the family romance’explores this interest, especially inBrakhage’s WEIR-FALCON SAGAthrough a history of literary tradi-tions and representations. Aninteresting and useful addition tothe study of Brakhage’s work.

MCBRIDE, JosephFilmmakers on filmmaking: theAmerican Film Institute seminarson motion pictures and television,volume two. American FilmInstitute.J.P. Tarcher, 1983. 239p. illus. bibliog.index.

Comprises a wide-range of inter-views with people working in filmfrom Jean Renoir to CharltonHeston and including an interviewwith Stan Brakhage as the “inde-pendent filmmaker”. This is a fas-cinating interview with Brakhage,as he is at his most straightfor-ward. Worth reading for his cri-tiquing of his films and his opin-ions on the role of the artist insociety.

NESTHUS, Marie and BRAKHAGE,StanStan Brakhage.Walker Art Center, 1979. 23p. illus.

An analysis of some of StanBrakhage’s later works such as theSINCERITY series and other works.

journal articles

PREMIEREVol.17. No.1. September 2003, p. 100

Obscure projects: handmade films,by Alan Licht

Ostensibly a review of a DVD boxset, but still useful for the writer’scomments about Stan Brakhage’simportance and influence as afilmmaker.

MILLENNIUM FILM JOURNALNo.41. Autumn 2003, p. 19

Stan Brakhage remembrances, byvarious people

An issue made-up mainly of a col-lection of photographs, letters andreminiscences of Brakhage by fel-low filmmakers, friends andacquaintances.

INDEPENDENT FILM AND VIDEOMONTHLYVol.26 No.6. July/Aug 2003, pp. 53-55

Voice from the past: “Village”reviews to notes by Brakhage, byBryan L. Frye

The books reviewed provide a use-ful context for the flourishing ofthe American Avant-Garde fromthe 1950’s onwards.

INDEPENDENT FILM AND VIDEOMONTHLYVol.26 No.4 May 2003, pp. 9-10

An adventure of perception: StanBrakhage 1933-2003, by ElizabethPeters

Partly an obituary and partly areminiscence, Peters emphasisesBrakhage’s influence “on contem-porary work in experimental film,music video and advertising”.

SIGHT AND SOUNDVol.13 No.5. May 2003, p. 3

Obituary: Stan Brakhage, by PaulArthur

An appreciation of the life andwork of Brakhage. The obituaryprovides a concise but informativeaccount of Brakhages’s career andhis importance as a filmmaker.

FILM COMMENTVol.39. No.3. May/June 2003, pp. 10-11

Obituary: Stan Brakhage, by SteveAnker

This exhaustive account providesa useful overview of StanBrakhage’s career.

POEM FILM FILM POEMNo.8. 2000, pp. 1-2

The luminous eye, by William C.Wees

Taking the idea from the poetmodernist Ezra Pound to “make itnew” Wees explores the use of thisidea in Brakhage’s DOG STARMAN. Though more to do withPound’s Cantos, rather thanBrakhage’s film, this brief articlehas ideas worth exploring.

FILMMAKERVol.7 No.2. February/April 1999, p. 78

Mountain man, by Steve Anderson

A brief article about a documen-tary that was made about StanBrakhage, called simply BRAKHAGEby Jim Shedden. Useful as anoverview of the man, his careerand as a figurehead for experi-mental filmmaking.

MILLENNIUM FILM JOURNALNo.32/33. Autumn 1998, pp. 105-130

Brakhage and the theory of mon-tage, by Victor A. Grauer

A highly theoretical piece thattakes in many philosophical andcultural theories of the twentiethcentury and addresses them withregards Brakhage’s work. Thereare ideas of interest and it bringstogether much that has been saidabout Brakhage, but a lot ofpatience is needed.

INDEPENDENT FILM AND VIDEOMONTHLYVol.21. No.4. May 1998, pp. 16-17

Stan Brakhage: commingled con-tainers, by Jeremy Lehrer

A feature and interview with StanBrakhage that focuses on hiscareer after he had been diag-nosed and treated for bladder can-cer and the impact it had on his

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 18

life and working methods.

CINEMATOGRAPHVol.6 No.spec. 8mm. 1998, pp. 60-61

An at-oneness, by Stan Brakhage

In an issue devoted to celebrating8mm film, Brakhage argues thatfor him it’s not the gauge of thefilm that matters but the lightnessof the equipment as this “permitsan intimacy, an at-oneness withthe maker”.

FILM COMMENTVol.31 No.5. Sept/Oct 1995, pp. 68-76

Qualities of light: Stan Brakhageand the continuing pursuit ofvision, by Paul Arthur

This piece provides an insight intosome of the themes and tech-niques of Stan Brakhage’s worksuch as the use of light, why hedoesn’t use sound, the use of hisfamily. Utilising Brakhage’s ownwriting Arthur creates a usefuloverview of the work. Particularattention is paid to two ofBrakhage’s films: MURDER PSALMand A CHILD’S GARDEN AND THESERIOUS SEA in which two differ-ing visions of his family areoffered.

SIGHT AND SOUNDVol.3. No.10. October 1993, pp. 20-23

All that is light Brakhage at 60, bySuranjan Ganguly

An exhaustive interview withBrakhage that examines his film-making techniques and subjectmatter in quite a lot of depth.Though sometimes very theoreti-cal in tone, this is still a usefularticle for anyone studyingBrakhage.

MILLENNIUM FILM JOURNALNo.26. Autumn 1992, pp. 56-66

Grisled roots: an interview withStan Brakhage, by Gary Higgens

An essential article as Brakhageeloquently explains his work andinfluences and his relationship toart and culture in general. It isobvious that there is much aboutsociety and politics and its impact

on the arts that disgusts Brakhage.

MILLENNIUM FILM JOURNALNo.25. Summer 1991, pp. 100-107

Getrude Stein: meditative litera-ture and film, by Stan Brakhage

The poems of Gertrude Stein havebeen cited as a big influence onBrakhage and in this essay heexplores how facets of her poetry(i.e. the use of repetition) and thedifferences in trying to do stylisti-cally similar things in literatureand on film.

MILLENNIUM FILM JOURNALNo.16/18.Aut/Win 1986/87,pp.297-307

Stan Brakhage at the MILLENNI-UM: November 4, 1977

The transcript of a question andanswer session that followed thescreenings of THE GOVERNOR andTHE DOMAIN OF THE MOMENT.Brakhage comes across as some-times “difficult” in his exchangeswith the audience members, but itdoes provide an excellent opportu-nity for Brakhage to expound onhis theories.

SUBSTANCENo.51. 1986. pp. 87-95

An eye for an I: on the art of fasci-nation, by Allen C. Weiss

Weiss starts his essay with an arthistory dialogue on the relation-ship between art and the world,and moves on to describeBrakhage’s films in relation toprecedents in art.

MONTHLY FILM BULLETINVol.53 No.625. February 1986, pp. 60-62

In the American vein, by SimonField

Noting Brakhage’s pre-eminentposition amongst American avant-garde filmmakers, Field goes on toexamine why Brakhage’s filmsbecame underrated in the1970’s/80’s and reassess the filmsBrakhage made over this period.This is followed by a reviews of:THE ACT OF SEEING WITH ONE’SOWN EYES, MURDER PSALM andSINCERITY REELS 1, 2, 3.

MILLENNIUM FILM JOURNALNo.14/15. Aut/Wint 1984/85, pp. 22-27

“Any fool can see for himself”:notes on Brakhage’s scrapbook, byChristopher Sharrett

Written to coincide with the publi-cation of ‘Brakhage Scrapbook’ aseries of essays and papers thatdetail Brakhage’s thoughts, ideasand his place as an artist. ThoughSharrett places Brakhage firmly ina Romantic tradition, he notes thatthe book helps to place Brakhageand his work in a wider historicalcontext. The article offers manyinsights into the personality ofStan Brakhage and his work.

UNDERCUTNo.7/8. Spring 1983, p. 16

Letter, by Stan Brakhage

A confused and confusing letterfrom Stan Brakhage on landscapeand his films, with particular ref-erence to the ARABIC NUMERALseries.

MOVIE MAKERVol.17. No.5. May 1983

Going off the rails with “under-ground movies”, by Ivan Watson

An anti Avant-Garde piece inwhich Watson describes experi-mental filmmaking as “a form ofimpudent self-indulgence”. Withparticular reference to BrakhageWatson believes that filmmakerscan still be experimental withoutsacrificing established narrativetechniques in film or aiming to beincomprehensible. An unfashion-able argument against modernismin art, but probably a popular one.

FILM QUARTERLYVol.35 No.3. 1982, pp.35-43

The film-maker as romantic poet:Brakhage and Olson, by DavidJames

This heavily theoretical articlestarts with the distinction between“poetic” independent films and“prosaic” mainstream or featurefilms. James then goes on to arguethat this distinction, though valid,can be re-argued in terms of thework of Stan Brakhage. Providinga background to Romantic andModernist poetry, James then

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 19

moves on to examining the workof Brakhage. An interesting essay,but the style of writing and depthof examination may put off mostbut the most serious of Brakhagescholars.

MILLENNIUM FILM JOURNALNo.6. Spring 1980, pp. 43-49

Brakhage’s dreamscape, byChristopher Sharett

Looking at the increasing influ-ence of “dream consciousness” inBrakhage’s films (particularly inthe NIGHTMARE SERIES) and thefilmmaker’s attempts to documentday and night dreaming. This arti-cle provides a useful look at thechanging themes and ideas inBrakhage’s work.

AMERICAN FILMVol.5. No.2. November 1979, pp.37-40

Where is the avant-garde going?by J. Hoberman

The question of “Where the avant-garde is going?” is never reallyanswered in this article, but whatHoberman’s essay does do is give abrilliant background to the historyand personalities of the avant-garde film movement. This articleprovides a good insight for thosenew to the subject.

TIME OUTNo.497. 26 October 1979, p. 19

A is for Avant-Garde, B is forBrakhage, by Ian Christie

Written to coincide with a retro-spective of Brakhage’s work at theLondon Film-Maker’s Co-op thisarticle is more personal in tonethan most written about StanBrakhage. Many topics are coveredwith much that is of interest tothose studying Brakhage.

MILLENNIUM FIM JOURNALNo.4/5. Sum/Aut 1979, pp. 64-70

Misconception = the “division oflabor” in the childbirth film, byAnne Friedberg

Comparing Brakhage’s seminalWINDOW WATER BABY MOVING inwhich he filmed his wife givingbirth to their first child, withMarjorie Keller’s “loving critique”

MISCONCEPTION in which shefilmed her sister-in-law givingbirth. Highlighting the feministdebates that were taking place notonly in society (the role of themale parent in childbirth) but infilmmaking (i.e. woman as cipherfor the male artist’s meaning) anddiscussing the similarities and dif-ferences between the films thisarticle offers an interesting debateon the subject.

FILM CULTURENo.67/69. 1979, pp. 94-96

Manifest, August 16, 1974, by StanBrakhage

A poetic statement ofintent/manifesto by Brakhage onArt. Interesting if slightlyinscrutable.

FILM CULTURENo.67/69. 1979, pp. 97-108

Notes on Brakhage’s “23rd PsalmBranch”, by Gail Comhi

A detailed critique of the 23rd

PSALM BRANCH as a reaction to theVietnam War.

FILM CULTURENo.67/69. 1979, pp. 109-129

Stan Brakhage speaks on “23rdPsalm Branch” at Film-makersCinematheque, April 22nd, 1967

An impenetrable account byBrakhage of his ideas and the film-ing of his 23rd PSALM BRANCH.

FILM COMMENTVol.14. No.2. Mar/April 1978, pp.9-18

The Mekas Bros. Brakhage andBaillie travelling circus, by MitchTuchman

This is an article that could beread as “A day in the life of theavant-garde filmmaker”. Thoughwith a lot of the focus onBrakhage, this is an interestingaccount of the avant-garde filmmovement in America. There is alot of useful information on vari-ous filmmakers and an insightinto how a filmmaker actuallyexists and creates their films atthe same time outside of themainstream and how the move-

ment has changed over time. Thealmost itinerant lifestyle is com-pared to that of being in a travel-ling circus.

MILLENNIUM FILM JOURNALVol.1 No.2. Spr/Sum 1978, pp. 4-13

Structural film: revisions, new ver-sions, and the artefact, by PaulArthur

This examination ofStructuralist/Materialist film (orthe object/artifact in film – and adisputed term at that) focuses onboth Andy Warhol and StanBrakhage. Though not whollyaligned with this type of filmmak-ing, Brakhage’s MOTHLIGHTinvolved glueing moth wings,petals and other objects directlyonto the strips of film rather actu-ally filming something. Though anarticle requiring a lot of patiencethis provides a good introductionto an important aspect of experi-mental filmmaking.

MILLENNIUM FILM JOURNALVol.1 No.1. Winter 1977/78, pp. 60-105

Autobiography in Avant-Gardefilm, by P. Adams Sitney

An exhaustive essay on the “devel-opment of the filmic autobiogra-phy”. Though of much interest tothose studying Brakhage the heav-ily theoretical tone can be off-put-ting.

FIELD OF VISIONNo.2. Summer 1977, pp. 1-5

Autobiography in Stan Brakhage’s23rd Psalm Branch, by WandaBershen

The autobiographical element isan important feature of StanBrakhage’s work. Bershen exploresthe development of this inBrakhage’s work from 1958-65 andthen with particular reference tothe 23rd PSALM BRANCH. The bibli-ography at the end of this article isa useful listing of materials aboutBrakhage up to the point of publi-cation, however, if some of thesematerials are not listed in this 16+Source Guide, they may prove dif-ficult to get hold of.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 20

THOUSAND EYES MAGAZINEVol.2 No.5. January 1977, pp. 24, 26

Brakhage: elements of light, byRichard Bartone

Written to coincide with Brakhageretrospectives at both the Museumof Modern Art in New York and atthe Port Washington Public Library,Bartone aims to “present ways ofapproaching Brakhage’s films”.Though brief, this does serve as auseful introduction to both theinfluences and style of Brakhage’sfilms.

FILM QUARTERLYVol.29 No.3. 1976, pp.30-34

Brakhage: artistic development intwo childbirth films, by William R.Barr

Focusing on two of Brakhage’sfilms in particular: WINDOWWATER BABY MOVING and THIGHLINE LYRE TRIANGULAR, both ofwhich show Brakhage’s wife (Jane)giving birth. Brakhage’s use of hisown family as subject matter inhis films is one of the key themeswhen examining his work. Barrdiscusses the nature of an artist’ssubjectivity and how Brakhage’sview of his films differs from thatof his wife’s.

MILLENNIUM FILM JOURNALNo.4/5. Sum/Aut 1975, pp. 153-156

Brakhage’s Sincerity III, by PhoebeCohen

Focusing on another deeply auto-biographical work by BrakhageReel III of SINCERITY deals with theperiod when he was in his thirties.Cohen examines how Brakhageutilises a series of techniques todenote the passing of time and thecondensing of memory.

CANTRILLS FILMNOTESNo.21/22. April 1975, pp. 33-53

Stan Brakhage: the text of light, bySally Dixon and Stan Brakhage

This is the transcription of aninterview that took place withStan Brakhage to mark the pre-miere of his work THE TEXT OFLIGHT. As can be guessed from thelength of a discussion that wenton for over two hours, there is alot that is covered here, mainlyconcerning his working methodsand influences. However, howmuch patience those studyingBrakhage need to read all this isopen to debate.

DIALOGUE ON FILMVol.2. No.3. January 1973, pp. 43-47

Stan Brakhage seminar

An exhaustive, though nonethe-less entertaining account byBrakhage of his working methods,ideas, and life, including his theo-ries on filmmaking. A usefulinsight into the filmmaker.

TAKE ONEVol.3 No.11. May/June 1972, pp. 38-39

Letter

A letter about the SEXUAL MEDITA-TION FILMS by Stan Brakhage andthough the writer seems to bequite appreciative of Brakhage’sfilms in general, they seem to bequite critical of this particularseries. Though interesting, proba-bly only worth reading for thecompletist Brakhage fan.

FILM LIBRARY QUARTERLYVol.4. No.3. Summer 1971, pp. 43-47

Stan Brakhage: transforming per-sonal vision into a rhythmic struc-ture, by Katherine Smith

Stating that Brakhage has“released film from its dependenceupon literary themes and sym-bols”, Smith goes on to explorehow Brakhage’s style has movedon from the early psycho-dramasthat were popular in early AvantGarde films to something morepoetic. Focusing on ANTICIPATIONOF THE NIGHT as a signifier of thistransformation. A concise butuseful summary of the themesand techniques of Brakhage’swork.

FILM LIBRARY QUARTERLYVol.3. No.3. Summer 1971, pp. 23-32

Discovering Brakhage: a personalview of the MOMA retrospective,by Douglas Lee

Lee offers a critical introduction tothe work of Stan Brakhage andthen critiques the films in each ofthe programmes that were beingscreened and the audience’s reac-tions to them. A not wholly posi-tive reaction to Brakhage’s filmsbut a plain-speaking antidote tothe hyperbole that has been writ-ten by both Brakhage and others.

AFTERIMAGEVol.1. No.2. Autumn 1970, pp. 9-13

Avant Garde film: Stan Brakhage,by P. Adams Sitney

This serves as a useful apprecia-tion but also critique of Brakhage’swork. Focusing primarily on hisfilms LOVEMAKING and SCENESFROM UNDER CHILDHOOD, Sitneytalks about Brakhage’s prolific out-

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 21

The Garden of Earthly Delights

put of films, his preference for notusing sound and his theories ingeneral.

TAKE ONEVol.3 No.1. Sept/Oct 1970, pp. 6-9

Transcription of some remarks byStan Brakhage…

Given as an introduction and latera discussion at a screening of Parts3 and 4 of his SCENES FROM UNDERCHILDHOOD series. This discus-sion is another useful example ofBrakhage’s ability to sometimessay a lot without saying much ofinterest at all. Quite amusing forthe moment when a questionercomments on the film puttingthem to sleep.

FILM CULTURENo.40. Spring 1966, pp. 8-12

Two essays on Brakhage and hissongs, by Jerome Hill and GuyDavenport

Both essays discuss Brakhage’s8mm SONG SERIES. In the firstessay, Jerome Hill offers a subjec-tive exploration of the themes andtechniques Brakhage’s uses in the“Songs”, whereas in the secondessay Guy Davenport talks aboutthe direct influence of the films ofthe Lumiere brothers on Brakhagefor the “Songs”. The second essayis a much more detailed accountof the films though both essaysmake interesting reading.FILM CULTURENo.30. Autumn 1963 p. whole issue

Metaphors on vision, by various

A whole issue devoted to Brakhageand his work, including both aninterview with him and text byhim. This is essential reading,especially for the interview with P.Adams Sitney at the beginningand for Brakhage’s essay on hisapproach to “seeing.”

FILM CULTURENo.24. Spring 1962, pp. 5, 84

Film Culture’s 4th IndependentFilm Award

Writing about “Stanley Brakhage”and announcing the films THEDEAD and PRELUDE have won FilmCulture’s 4th Independent Filmaward. Special focus of praise is

his “poetic cinema”.

FILM QUARTERLYVol.14. No.3. Spring 1961, pp.47-48

Films of Stan Brakhage, by ErnestCallenbach

Callenbach offers a fairly damningcritique of Brakhage’s films andfinds little to praise in either thefilms themselves or Brakhage’stechniques. An alternative point-of-view from most articles andthough mean, quite entertainingto read.

press articles

THE MUSEUM OF MODERN ARTNo.44. April 1971

America’s most important filmexperimenter in Museum retro-spective.

Though brief, this press releaseoffers a useful overview ofBrakhage’s life and career up tothat point.

VILLAGE VOICE21 June 1973

A varied burst of Brakhage, byClinton Delaney

Reviews of Brakhage’s films from1971-72: EYE MYTH, THE PROCESS,THE RIDDLE OF LUMEN, THE SHOESOF PHOS: A FABLE, THE ACT OF SEE-ING WITH ONE’S OWN EYES, THEWOLD SHADOW, THE PRESENCE,SEXUAL MEDITATION, ROOM WITHVIEW, FAUN’S ROOM: VALE, OFFICESUITE, HOTEL, OPEN FIELD and SIN-CERITY. Not only does this articlehighlight the astounding rate ofoutput Brakhage had but also thetechniques he used and pioneeredin his filmmaking.

VILLAGE VOICE28 June 1973, 5 July 1973, 12 July1973,19 July 1973 and 26 July 1973

Stan Brakhage (parts one-five), byJonas Mekas

A four-part interview withBrakhage to celebrate his 40thbirthday and his being honouredwith a special citation by BrandetsUniversity for his “contribution tothe art of cinema”. Brakhage

touches on many subjects, suchas, artists being honoured, art edu-cation in America and much more.By this time Brakhage was alreadyconsidered one of the elder states-man of the Avant-garde and thisvery lengthy interview reflectsthis.

CHRISTIAN SCIENCE MONITOR12 December 1977

Meet the guru of non-Hollywoodfilmmakers, by David Sterritt

Describing Brakhage as one of theworld’s “master filmmakers” thisprofile is aimed at readers unfa-miliar with Brakhage or his films.This profile highlights the impor-tance of Brakhage not only toexperimental filmmaking, but alsoto filmmaking in general. In theinterview itself, Brakhage talksabout the changing climate forexperimental filmmakers and howhis films are viewed; in particularthe responses of children.

CINEMA TEXAS PROGRAM NOTESVol.11. No.2. 11 October 1976

Three films by Stan Brakhage

These notes accompany screen-ings of DESISTFILM, REFLECTIONSON BLACK and ANTICIPATION OFTHE NIGHT. Mixing quotes, com-ment and technical information,they are an excellent source ofinformation.

VILLAGE VOICE21 June 1988, pp. 70, 72, 74-75

Visions of excess, by KatherineDieckmann

A review for KINDERING, LOUDVISUAL NOISES, THE DANTE QUAR-TET, FAUSTFILM: AN OPERA andFAUST’S OTHER: AN IDYLL. Thefilms mark a return to Brakhage’suse of sound. While describingBrakhage as the “paterfamilias ofexperimental film”, Dieckmannisn’t afraid to describe some of hiswork as “overlong and laboured”.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 22

VILLAGE VOICE12 March 1991, p. 58

The olde garde advances, byManohla Dargis

At the beginning of the articleDargis describes Brakhage as being“brutally marginalized”. Thoughbrief this feature is excellent forhighlighting the changing politicsof the Avant-garde, so thatBrakhage’s work, while lauded inthe 1950’s and 60’s was seen aspatriarchal by the mid-70’s and outof step with times. Worth readingfor the concise assessment ofBrakhage and his work.

GUARDIAN15 March 2003, p. 23

Stan Brakhage, by Ronald Bergen

An obituary of Brakhage that talksabout the importance and signifi-cance of Brakhage’s work to film-making and the continuing influ-ence of his legacy.

VARIETY17-23 March 2003, p. 59

Long on shorts, influence andexperimentation: Brakhage, byRobert Koehler

Though brief, this obituary high-lights the seminal importance ofsome of Brakhage’s films andnotes that though his work in the1970’s and 80’s had suffered fromneglect, he was gaining new expo-sure up to the time of his deaththanks to two of his former stu-dents, namely Trey Parker andMatt Stone, the creators of SOUTHPARK.

TIMES24 March 2003, p. 29

Stan Brakhage

More autobiographical than, someof the obituaries written, thisfocuses more on Brakhage himselfand his family.

books

ABRAHAMS, AnnaWarhol films.Rongwrong,1989. 72p. illus. bibliog.filmog.

Abrahams believes that most ofthe studies of Warhol’s work haveapproached it from the wrongdirection. Basing her analysis ofWarhol’s films as an extension ofhis art, Abraham’s provides a cri-tique grounded in art history andspecifically the avant-garde.

ANGELL, CallieSomething secret: portraiture inWarhol’s films.Museum of Contemporary Art, 1994.24p. illus. filmog. bibliog.

Compiled to accompany an exhibi-tion of Warhol’s work, Angell notesthat Warhol’s films can be seen as“The representation of individualpersonalities – of actual humanbeings rather than fictional char-acters”, and therefore works ofportraiture. There are brief discus-sions of many of the Warhol-directed films.

BOCKRIS, VictorWarhol.Fredrick Muller, 1989. 528p. bibliog.filmog. index.

For anyone studying Warhol, thisbiography gives the most thoroughinsight into his life and times.Though the films are discussed,

it’s the character portraits that arefascinating.

BOURDON, DavidWarhol.Harry N. Abrams, 1989. 432p. illus.(some col.). bibliog. index.

An exhaustive book covering allthe different periods of AndyWarhol’s life and work. There aremany beautiful and interestingimages in this book and it includesan in-depth look at CHELSEA GIRLSand LONESOME COWBOYS.

FINKELSTEIN, NatAndy Warhol: the Factory years1964-1967.Sidgwick & Jackson, 1989. [94]p. illus.

A highly entertaining account oflife at the Factory. Finkelstein rec-ollects the personalities, incidentsand events that made it such atalking point of the undergroundin the 1960’s. Includes many inter-views and photographs.

GIDAL, PeterAndy Warhol: films and paintings.E.P. Dutton, 1971. 158p. illus. index.

Divided into two distinct sections‘Paintings’ and ‘Films’, Gidal offersan excellent introduction andanalysis of Warhol’s films and thecritical reception they received.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 23

andy warhol 1928 - 1987

GRUNDMANN, RoyAndy Warhol’s Blow Job.Temple University Press, 2003. ix, 228p.; illus. notes. index.

Though only a short single-takefilm, Grundmann examines BLOWJOB as an important part of thedebates on “pop and art, pornogra-phy and avant-garde, gay andstraight, visible and invisible sex”.Covers not only film studies, butalso queer and cultural theory too.

GUILES, Fred LawrenceLoner at the ball: the life of AndyWarhol.Bantam, 1989. 420p. plates. bibliog.index.

A straightforward account of thelife of Andy Warhol. There is littlein the way of analysis, but it stilldoes provide an insight into thecharacters in Warhol’s films andsurrounding him at the Factory.

GUNTON, Sharon R.Contemporary literary criticism,Vol. 20.Gale Research, 1982. - 596p. indices.

A collection of literary criticism ofvarious writers and filmmakers.The section on Andy Warhol is anexcellent starting place for anyoneinterested in Warhol’s films as theselection of critical writings pri-marily offer a contemporary per-spective to his work.

HARRON, Mary and MINAHAN,DanielI shot Andy Warhol.Grove Press, 1996. v-xxxi. 190p. [8]plates.

The screenplay to the film I SHOTANDY WARHOL, in her introduc-tion, Harron offers a sympatheticcritique of Valerie Solanas, goingso far as to suggest that she can beviewed as a pioneer of radical fem-inism. Interesting as it offersanother point of view on a pivotalperson from Andy Warhol’s life.

KOCH, StephenStargazer: the life, world and filmsof Andy Warholrev. upd. ed Marion Boyars, 1991.153p. [30] plates. filmog. index.

The focus is much more on Warholas a person than many of theother works about him. Usually

described as mute or impassive,Koch’s portrait of Warhol is com-pelling and fills in many of theblanks about the man behind theFactory and the films.

KOESTENBAUM, WayneAndy Warhol.Weidenfeld & Nicolson, 2002. 196 p.

Though a biography of Warhol,Kostenbaum has some interestingthings to say about the making ofthe films and the pitfalls of life atthe Factory. Offers a wry critiqueof its subject.

MACCABE, Colin and FRANCIS,Mark et al.Who is Andy Warhol?British Film Institute,1997. vi-viii,162p. illus. index

Comprising a collection writingson the work of Andy Warhol, thisattempts to explore the range ofhis activities, the nature of hisachievements and the extent ofhis influence. Ranging from per-sonal recollections to criticalanalysis.

MENDI, Xavier and SCHNEIDER,Steven Jay et al.Underground USA: filmmakingbeyond the Hollywood canon.Wallflower Press, 2002. xvii, 235 p.;illus. notes. index.

This survey of the differentstrands of American undergroundfilmmaking serves as a helpfulintroduction to the films of AndyWarhol. The chapter on him high-lights many of the debates thathave surrounded his work, andgives a constructive overview ofthe films.

O’PRAY, MichaelAndy Warhol: film factory.British Film Institute, 1989. 195p.illus. bibliog. filmog. index.

O’Pray draws together differentwriters to explore Warhol’s filmsfrom a variety of angles.Thoughtful without over-theoris-ing its subject, these essays pro-vide useful areas of research.

RUSSELL, Catherine and BEN-JAMIN, WalterExperimental ethnography: thework of film in the age of video.Duke University Press, 1999. x-xviii,391p.; illus. bibliog. filmog. index.

Repositioning Warhol’s earlierfilms, Russell discusses the “play-ful tension between performanceand voyeurism” and that Warholwas an ethnographer (traditionallyused to describe different races ofpeople) of a subculture “obsessedwith exhibitionism, stardom andtheatricality”. An interestingrecontextualisation of Warhol’sfilms.

SHAPIRO, StevenThe cinematic body.Minnesota University Press, 1993.viii-xi, 278p. bibliog. index.

Offering a very personal interpre-tation of the works of various film-makers, through their onscreenrepresentations of the humanbody, this touches on many areasincluding politics, aesthetics andpostmodernism. The chapter onWarhol highlights Shapiro’s confu-sion of thought and his at timesnon-linear approach can be off-putting. However, this book doesprovide areas of discussion/debate.

SHORE, Stephen and TILLMAN,LynneThe velvet years: Warhol’s Factory,1965-67.Thunder’s Mouth Press, 1995.

Primarily a picture book of imagestaken at the Factory during itsheyday in the mid-1960’s. It doesinclude some brief reminiscencesby some of the participants.

SMITH, Patrick SAndy Warhol’s art and films.UMI Research Press, 1986. 613p. illus.bibliog. index.

A thorough examination ofWarhol’s work. Smith takes as hisstarting point, Warhol’s fascinationwith image and stardom andshows how this was translatedinto the Factory and his films.Including interviews with manyone-time associates or Factorysuperstars, this book is essentialreading.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 24

STEIN, Jean and PLIMPTON, GeorgeEdie: an American biography.Alfred A. Knopf, 1982. 455p. illus.

The most famous of Warhol’ssuperstars, Edie Sedgewick contin-ues to exert a certain fascinationover those who have heard of heror seen her in films. A sad butwell-told tale of one of Warhol’sbrightest stars.

TAYLOR, John RussellDirectors and directions: cinemafor the seventies.Eyre Methuen, 1975. - 327p. bibliogs.filmogs.

Comprising studies of variousdirectors, Taylor’s informal dissec-tion of Andy Warhol’s and PaulMorrissey’s films gives an uncom-plicated appreciation of their workand of the social and artistic con-text from whence it came and oftheir place in the American under-ground.

ULTRA VIOLETFamous for 15 minutes: my yearswith Andy Warhol.Methuen, 1989. 274p. plates.

Though potentially interesting asan insiders account of life at theFactory, there is little insight inthis biography.

WARHOL, AndyBlue movie: a film.Grove Press, 1970. - 126p. illus.

Full script (or rather dialogue)from the film plus many illustra-tions. Manages to be both inti-mate and tedious at the sametime.

WARHOL, AndyThe philosophy of Andy Warhol:(From A to B and back again).Cassell, 1975. 241p

As the title suggests this is more aseries of thoughts and reminis-cences rather than an autobiogra-phy. Though there seems to be lit-tle in the way of self-reflection orawareness, the apparent naivety isquite likeable.

WARHOL, Andy and HACKETT, PatThe Andy Warhol diaries.Simon & Schuster,1989. 807p. plates.

A highly entertaining if vacuousread. Starting from 1976 up toWarhol’s death, the diary gives agreat insight into Warhol and hislater life. Though there are refer-ences to some of the films andpeople that populated the Factorythe lack of an index means that asa source of research, this is a veryfrustrating book.

WILCOX, John and WARHOL, AndyThe Autobiography and sex life ofAndy Warhol.Other Scenes Inc, 1971. [126]p. illus.

Very much an “art book”, the inter-views with Warhol’s friends andassociates can be seen as a goodsource of contemporary informa-tion and therefore very useful.

WORONOV, Mary and NAME, BillySwimming underground: myyears in the Warhol factory.High Risk,1995. 152p.; illus.

Woronov’s memoir reads like anovel. She paints a highly vividand evocative picture of life at theFactory. Both fascinating andscary in equal measures.

WRENN, MikeAndy Warhol: in his own words.Omnibus Press, 1991. 94p. illus.

Ostensibly a quote-book withquotes by Warhol and associates.Interesting if not necessarilyinformative.

journal articles

SIGHT AND SOUNDVol.12. No.3. March 2002, pp. 4-5

Rushes: the bigger picture: soupdreams, by Edward Lawrenson

Written to highlight the AndyWarhol retrospective that washappening at the Tate Modern thatyear, this piece explores the influ-ence film had on Warhol as a childas can be evidenced in his art andfilmmaking. Though brief, thisprovides a concise and straightfor-ward account.

MILLENNIUM FILM JOURNALNo.38. Spring 2002, pp. 8-18

Peregrinations of the Avant Garde:the Chelsea Girls go to Russia, byDavid James

Two of Andy Warhol’s films THECHELSEA GIRLS and OUTER ANDINNER SPACE were shown as partof programme of US Avant-Gardefilms that toured in Russia. Thisarticle is an examination of thesimilarities and relationship of theAmerican Avant-Garde to Russiansensibilities compared with theovertly consumerist nature ofWarhol’s art. There is an interest-ing debate within this article andan insight into the Russian recep-tion to Warhol’s films; it is at timesoverly theoretical.

MILLENNIUM FILM JOURNALNo.38. Spring 2002, pp. 19-33

Doubling the screen: AndyWarhol’s Outer and Inner Space,by Callie Angell

Restored by the Museum ofModern Art, OUTER AND INNERSPACE is a 16mm film of EdieSedgwick sitting in front of ascreen showing a pre-recordedvideo of herself and then shownon a double-screen. Made in 1966,this piece examines not only themaking of the film and its techni-cal aspects in comparison to someof Warhol’s other films, it is alsoan examination into the personaof Sedgwick and Warhol’s fascina-tion with her.

SIGHT AND SOUNDVol.9. No.10. October 1999, pp. 20-22

The innovators 1960-1970: the bigwig, by Michael O’Pray

A comprehensive overview ofWarhol’s filmmaking. This looksat how his films have influencednot only independent filmmaking,but Hollywood as well and otherartists/filmmakers.

SCREENVol.38. No.2. Sum 1997, pp.200-204

Reviews, by Michael O’Pray

Beginning by noting the rise inacademic interest in Warhol sincehis death in the 1980’s O’Prayreviews ‘Pop out: queer Warhol’ by

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 25

Jennifer Doyle and JonathanFlatley and ‘Bike boys, drag queensand superstars: Avant-Garde, massculture and gay identities in the1960’s’ by Juan A. Suarrez. O’Prayobserves that it is only recentlythat Warhol’s reputation has beenrescued from that of “patheticcruiser of the New York glitterati ofthe 1970’s” to the extent that theimpact he made in the 1960’sthrough to his influence on manyyoung artists can now be exploredproperly. The rescuing of Warhol’sreputation is, according to O’Pray,through the emergence of ‘Queertheory’, and that a ‘cultural stud-ies’ approach doesn’t necessarilygive all sides of the story. A reviewthat offers an interesting debateon its subject.

INTERVIEWNo.4. April 1996, pp. 112-115

Untitled, by Ingrid Sischy

This piece acts as an affectionateremembrance of Andy Warhol.Sischy talks about Warhol as anartist, the impact he had, and themisjudgements there were abouthis personality and what it waslike knowing him.

INTERVIEWNo.4. April 1996, pp. 116-118

Andy and Candy, by RichardPandiscio

A profile of one of Warhol’s super-stars Candy Darling. Noting thatthe current popularity with draghas some resemblance to its pastheritage, that there is also a cer-tain shallowness involved. ForPandiscio however, Candy Darlingwas a real star and Andy Warholwas the person that brought thisquality out of her. This is analmost romantic account of theirfriendship and an insight into oneof Warhol’s more enigmatic stars.

INTERVIEWNo.4. April 1996, pp. 120-121

Crazy for Andy, by Alison Powell

An interview with the directorMary Harron about her film basedon the shooting of Andy Warhol byValerie Solanas in 1967, I SHOTANDY WARHOL. An informativearticle that touches on many dif-ferent areas, from why there is a

cultural fascination with Warholand the Factory through to peo-ple’s interpretations of Solanasand Harron’s making of the filmand people’s reactions to it.

CLASSIC IMAGESNo.214. April 1993, pp. 38-40

The early films of Andy Warhol, byWheeler Winston Dixon

A detailed look at Warhol’s earlycareer and how he got into film-making, with particular focus onhis work with Gerard Malanga.Full of interesting reminiscencesby Malanga, this provides aninformative insight into Warholand the early Factory-years.

NATIONAL FILM THEATRE PROGRAMMESSeptember/October 1989, pp. 11-17

The films of Andy Warhol and TheWarhol effect, by Michael O’Pray

A concise and useful introductionto the films of Andy Warhol andsome of the issues surroundingthem. Used to accompany screen-ings of his films as part of a retro-spective, there are also listings offilms and filmmakers that eitherwere an influence or have beeninfluenced by Warhol.

INDEPENDENT FILM AND VIDEOMONTHLYVol.11 No.10. Dec 1988, pp. 20-23

Beauty, flesh and the empire ofabsence: resighting Warhol, byPaul Arthur

A theoretical discourse onWarhol’s films. Though with someinteresting points to make, theoverall effect is somewhat confus-ing.

CINEACTION!No.7. December 1986, pp. 52-63

‘The superstar story’, by GloriaBerlin and Bryan Bruce

An article highlighting the “super-stars” featured in Warhol’s films tovarious effects. The main focus ison Edie Sedgwick, Ingrid Superstar,Brigid Polk, Ondine, Nico and Viva.A fascinating look at one of themost important facets of Warhol’sfilms.

WIDE ANGLEVol.7. No.3. 1985, pp. 24-33

The producer as author, by DavidE. James

An examination of the differentphases in Warhol’s films (and art)and the contradictions in hiscareer between “art and business”and how this is translated into thechanging nature of Warhol’s filmsand the viewers response to themand Warhol’s role as the “author”of the works. This is an interest-ing if sometimes un-engaging arti-cle.

CITY LIMITS14-20 January 1983, pp. 12-13

Trashman in retreat, Chris Auty

An interview with Paul Morrisseyin which he attempts to put therecord straight about the history ofThe Factory and peoples precon-ceptions of that period. Touchingon both the films and the people(with particular focus on EdieSedgwick) Morrissey’s recollectionsseem to be almost angry in tone.

FILMS ILLUSTRATEDVol.2 No.21. March 1973, pp. 12-13

The Warhol story, by JulianBamford

Though concise, this providesexcellent background informationto Warhol and his films.

THE FILM JOURNALVol.1 nos..3/4. Autumn/Winter 1972,pp. 80-91

“An innocence, an originality, aclear eye”: a retrospective look atthe films D. W. Griffith and AndyWarhol, by Rodger Larson

This is the transcript of a series ofscreenings and discussions thattook place in 1972, with Larsonseeing both Griffith and Warhol asfilmmakers who both had animpact on “the history of film”.This is not only an interestingcomparative study, but also anexhaustive account of two pio-neering filmmakers – a highly rec-ommended read.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 26

FILMMAKER’S NEWSLETTERVol.5 No.8. June 1972, pp. 24-28

Filming Andy Warhol’s “Trash”: aninterview with director PaulMorrissey, by Prof. F. WilliamHowton

Paul Morrissey collaborated withWarhol on many of his films, tak-ing on the role of director withWarhol acting as more of a pro-ducer. Focusing specifically on themaking of TRASH, this coversmany interesting aspects ofWarhol’s films, such as, their atti-tudes towards the performers intheir films; how he saw his role asthe director of the film; sex in thefilm and how they distributedtheir films. This is an excellentarticle for better understandingthe production of Andy Warhol’sfilms including the influence ofHollywood rather than an exami-nation of the aesthetics.

SIGHT AND SOUNDVol.41. No.3.Sum 1972, pp.158-161

Andy Warhol: iconographer, byDennis J. Cipnic

Cipnic states that the aim of thisarticle is to show that Warhol’sfilms have “expanded the boundsof film aesthetics”. Examining theextremes of reactions to Warhol asan artist, Cipnic cites that whilenot necessarily original or techni-cally competent, the fundamentalimportance of the films is in thepeople in them; the creation oficons. This essay has many inter-esting ideas that Cipnic explores,and contains a useful examinationof the link between Warhol’spaintings and his films.

TODAY’S CINEMANo.9886. 5 March 1971, p. 16

Warhol, by David Heisler

An amusing article written duringa visit by Andy Warhol to Londonto publicise TRASH. From the toneof the piece it is obvious thatthough incredibly polite with eachother there is little in commonbetween the interviewer and thesubject. Though Warhol himselfadmits that he isn’t one for talk-ing, there are a few revealinginsights to be had here.

SIGHT AND SOUNDVol.41. No.3. Sum 1972, pp. 158-161

Andy Warhol: iconographer, byDennis J. Cipnic

An essay examining the “signifi-cance” of Warhol’s films. Cipnicargues that Warhol’s films areworks that have “expanded thebounds of film aesthetics” anddeserve to have a better reputationthan they do. An interestingexploration of all aspects ofWarhol’s art.

FILMS AND FILMINGVol.17. No.7. April 1971, pp. 26-33

Warhol: part one, by Peter Gidal

Slotting Warhol’s films into differ-ent periods, Gidal’s exhaustiveexamination of Warhol’s filmsstarts by comparing the earlierfilms such as KISS or SLEEP withWarhol’s silkscreens, and thenmoves onto an in-depth appraisalof CHELSEA GIRLS. This feature isessential reading for anyonestudying Warhol’s films.

FILMS AND FILMINGVol.17. No.8. May 1971, pp. 65-72

Warhol: part two, by Peter Gidal

Focusing on what Gidal sees as the“fourth period” of Warhol’s film-making Gidal notes that the filmsbecome feature-length, haveimproved soundtracks and usecolour. As an example of this peri-od Gidal examines LONESOMECOWBOY. At the end of the articlethere is a filmography of Warhol’sfilms from 1963-1970.

FILM QUARTERLYVol.20. No.1. Autumn 1966, pp. 35-38

Beyond cinema: notes on somefilms by Andy Warhol, by JamesStoller

An interesting critique of Warhol’sfilms up to that time. Stollerstarts the article by pointing outhow unpopular Warhol was withmany people; the seeminglyunapologetic superficiality in atime of political and socialupheaval. This is then applied tothe reception of Warhol’s films.Stoller asserts that while filmssuch as EMPIRE and EAT are exer-cises in patience and boredom,

films such as VINYL and SCREENTEST are much more complex andhave more to offer viewers. Agood contemporary overview ofthe Warhol phenomenon andincludes insights into EdieSedgwick and the filmmaker JonasMekas.

press articlesThe first real newspaper coverageAndy Warhol seems to get in thiscountry is after Valerie Solanasshot him. The tone of the cover-age depends on the newspaper,ranging from the factual to thegossipy and sensational.

SUNDAY MIRROR5 June 1968

Why I shot Andy..by pop actress

A report on the first courtroomappearance of Valerie Solanas fol-lowing the shooting of AndyWarhol. Useful for the quotesfrom her as to why she did it andsome of the facts surrounding thecrime.

NEWS OF THE WORLD9 June 1968

The weird world of Andy Warhol

A fairly salacious article writtenfollowing Warhol’s shooting bySolanas. This focuses on some ofthe women who starred inWarhol’s films, with the emphasison sex and drugs. Interesting forhow Warhol was regarded by thetabloid press.

FINANCIAL TIMES16 July 1969

Andy’s hardy stuff, by PaulGardner

Ostensibly a review of LONESOMECOWBOY, the focus is on its starViva and the “here-today-gone-tomorrow” nature of many ofWarhol’s stars.

EVENING STANDARD9 July 1971

Warhol’s seized film gets an X, byAlexander Walker

A brief article on TRASH finally

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 27

being given an X-certificate by theBBFC a year after the police hadseized it. An interesting piece giv-ing an insight into the attitudes ofthe establishment at the time andfor Walker’s own comments on theaffair.

STUDIO INTERNATIONALVol.181 No.930. February 1971

Andy Warhol as a filmmaker: adiscussion between PaulMorrissey and Derek Hill, by DerekHill

A very detailed interview with PaulMorrissey about his and AndyWarhol’s filmmaking (and the dif-ferences in styles). An excellentfeature that touches on manyfacets of the work, the influencesand the reception to them. Alsoworth noting for Morrissey’s veryoutspoken (for the times) anti-drug stance, which goes againstwhat most people think TheFactory was emblematic of.

DAILY TELEGRAPH5 February 1971

“But the people are really beauti-ful”, by Sally Beauman

An account of Warhol making hisfirst film in Europe. This articlehighlights the move by Warhol(and Paul Morrissey) into makingwhat they considered more main-stream films, in order to attractbigger audiences. Includes adetailed profile of Warhol withmany observations about the manand his working environment.

SUNDAY TIMES4 September 1971

In the flesh, by Dilys Powell

Powell talks with Warhol primarilyabout FLESH, but also about otheraspects of his filmmaking. Thoughas usual reticent in interviews,Powell does manage to bring someuseful comments out of Warholand her critiques of the film aregood as well.

Various – January/February 1973

Coverage of outrage caused by thescreening of clips from TRASH onthe BBC’s FILM 73 and a documen-tary about Warhol and The Factory

that was due to screened on ATV,but had been banned by the Courtof Appeal after a complaint wasbrought against it by NorrisMcWhirter.

SUNDAY TIMES21 January 1973

How Andy Warhol’s Trash wasturned into gold, by Paul Eddy andElkan Allan

An extremely useful overview ofthe above controversies and howWarhol benefits from them.

EVENING STANDARD5 February 1973

Warhol judge speaks of the silentmajority, by Gordon Corner

A report on the lifting of a banthat had been imposed on thescreening of a documentary aboutAndy Warhol. Interesting for therulings of the Law Lords as anindicator of the changing attitudesof the establishment as to themore radical or open aspects ofsociety and what was permissibleto be broadcast.

DAILY MIRROR28 March 1973

What a bore

“The Mirror readers’ verdict on thefilm they tried to ban”.

ESQUIREMarch 1974

Andy’s children: they die young,by Dotson Rader

A highly critical account of Warholand his relationships with thepeople who made up his “super-stars” over various periods of time.Rader’s contention is that Warholused these troubled youths andthen abandoned them to self-destruct on their own. A devastat-ingly harsh profile, but a thoughtprovoking read nonetheless andessential for anyone writing aboutWarhol’s “superstars”.

DAILY EXPRESS17 August 1976

Andy Warhol: the empty enigma,by Paul Dacre

An interview with Andy Warholabout his book on Mick Jagger andthe film BAD. While notingWarhol’s cultural importance, thetone of Dacre’s article signals acertain unimpressiveness with hissubject.

INDEPENDENT23 February 1987, p. 14

Andy Warhol, by Philip Core

An obituary of Andy Warhol thatpulls together all the debates sur-rounding his art, films and life in avery concise manner. Also inter-esting for an insight into some ofthe influences on Warhol’s art.

TIMES23 February 1987, p. 12

Mr Andy Warhol: art for publicity’ssake

A slightly critical obituary ofWarhol, that seems to on the onehand, acknowledge, the signifi-cance of Warhol’s art to popularculture while at the same decryingit. Faint praise is given with thisappraisal: “[Warhol] left behindhim some of the most memorableand characteristic images of a con-fused and possibly shallow andsuperficial era”.

VARIETY25 February 1987, p. 6, 458

Pop Art leader and filmmakerAndy Warhol dies after surgery, byLawrence Cohn

Focusing primarily on his filmsand collaborations with PaulMorrissey, this looks at Warhol’sinfluences and contribution to theunderground filmmaking boom ofthe 1960’s, before entering thecommercial mainstream withCHELSEA GIRLS and the steadymove away from experimentation.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 28

ART MONTHLYApril 1987, pp. 33-34

Moving pictures: Warhol in memo-riam at the Co-op, by KevinGough-Yates

To tie-in with a season of Warholscreenings at London Film Co-op,Gough-Yates observes that usuallyWarhol’s films are “…more dis-cussed than seen and were alwayssomething of an endurance test”.He also makes some interestingcomments about Warhol’s director,Paul Morrissey.

VILLAGE VOICE17 May 1988, p. 63, 68

Bon voyeur: Andy Warhol’s silverscreen, by J. Hoberman

Hoberman says of Andy Warhol“reinvention was everything”. Inthis feature he follows Warhol’sprogression as a filmmaker byexamining KISS, BLOW JOB, BEAUTY#2, I, A MAN and FOUR STAR.

VILLAGE VOICE17 May 1988, p.68

The Warhol file, by Marcia Kramer

An article on the files the FBIbegan to keep on Andy Warhol andthe people he associated witharound the time of the making ofLONESOME COWBOYS in order totry and bring an obscenity chargeagainst him. The dry-tone of theexcerpts from the FBI files makefor entertaining reading.

INDEPENDENT14 September 1989, p. 15

Famous for fifteen frames, byChristopher Cook

Noting that to view Warhol’s earli-er films such as EMPIRE or SLEEPrequires “…an act of faith” andthat his later films were more akinto voyeuristic documentaries, Cookgives a concise overview ofWarhol’s filmmaking career andthe how the theme of transforma-tion is paramount in them.

SUNDAY CORRESPONDENT25 February 1990, p. 45

When he was a she – except forLittle Joe

An interesting ‘Where are theynow?’ type feature on the peopleimmortalised in Lou Reed’s song ‘Walk on the wild side’, many ofwhom were Factory superstars:Jackie Curtis, Candy Darling, HollyWoodlawn and Joe Dallesandro.

ART MONTHLYSeptember 1990, p. 8, 10-12

Sitting and listening: the films ofAndy Warhol, by Deke Dusinberre

Beginning by observing thatWarhol’s reputation as “the best-known underground film maker”rested on films that were not incirculation and had been seen bybarely a handful of people. Healso notes that, Warhol as a film-maker was the exact opposite ofStan Brakhage. Dusinberre, exam-ines films such as EAT and BEAU-TY #2, and questions if the filmshave a lasting legacy or not.

VILLAGE VOICE5 April 1994, p. 57, 62, 71

Warhol: the films, by J. Hobermanand Amy Taubin

This feature contains two pieceswritten firstly by J. Hoberman andthe second by Amy Taubin.Hoberman, looks and comparestwo of Warhol’s Edie Sedgewickfilms POOR LITTLE RICH GIRL andLUPE and cites an earlier Americanfilmmaker, Oscar Michaeux as set-ting a precedent for Warhol’s styleof filmmaking. Amy Taubin’s pieceis more of a behind-the-sceneslook at The Factory, and askswhether Andy Warhol intended hisfilms to be art or business.

INDEPENDENTSection 2. 12 September 1996, pp. 6-7

So what did Andy do next?, byRyan Gilbey

Going against the consensus thatviews the Paul Morrissey directed,Andy Warhol films as being not asgood as the Warhol-directed films,Gilbey praises Morrissey for bring-ing a narrative structure toWarhol’s films and secondly, JoeDallesandro to star in them.

DAILY TELEGRAPH16 November 1996, p. 32-35, 37-39, 41

Broken lives, by Mick Brown

Describing them as “…outcast,egocentric, spaced-out wannabes”this article profiles three of AndyWarhol’s superstars: JoeDallesandro, Viva and HollyWoodlawn. All three have differ-ent interpretations of Andy’sbehaviour towards them, and theymake this article both interestingand at times quite poignant.

GUARDIAN21 July 2001, p. 4

My 15 minutes with Andy, byMary Woronov

An account by Mary Woronov ofwhat it was like to feature in oneof Andy Warhol’s SCREEN TESTS.

INDEPENDENT27 July 2001, p. 5

Warhol captures paranoia of thenot-yet-famous, by John Walsh

Walsh offers a more critical viewof the SCREEN TESTS, thanWoronov, describing them as faces“caught in their brief, mono-chrome purgatory”.

FINANCIAL TIMES (WEEKEND)4 August 2001, p. VI

Warhol’s favourite girl on film, byLynn MacRitchie

A brief look at OUTER AND INNERSPACE and its star, Edie Sedgewick.

16 +

Sou

rce

Gu

ides

: Exp

erim

enta

l Fi

lm

BFI National Library 29