British avant-garde film movement emerged in the late 1960s, as a filmmaker "(LFMC) and American influences, such as Stan Brakhage, Kenneth Anger and Andy Warhol excited by the Association of London. Key figures in Britain, Steve Dwoskin, Andy Meyer, David Curtis, accompanied by Peter the British advertising agencies Malcolm Le Grice and Annabel Nicolson. Instead of using the term "avant-garde, affordable labels, such as structural, abstract, experimental, extended or leisure. Extensive structural and formal opinions, which quickly spread to different organizational, artistic and political trends in the development of fragmented and diversity of the group.British popular with the audience was the previous film elitist avant-garde movements of the pilot middle class realism (Anderson, Richardson, Reisz and so on), criticism of the state of the art (as defined in Losey Pinter Strip) and even a statement from the laboratory of rain left standing. For the most part had been included in Hollywood movies, and it was often suspicious of political or avant-garde theater in Europe. Ironically, the practice of the British avant-garde formalism, structuralism, and able to deal with radical changes without practicing a revolutionary ideologies. It cuts anti-Americanism, the visionary American constructivist platform. Focus on essential aspects of media forced the subjective existential decisions and non-hierarchical mental activity viewer, such as Malcolm Le Grice For Small Dog, Roger (1967), and Yes No Maybe not Maybe (1967), Hall of Peter the British Advertising Agencies (1967), planter Roger Hammond (1972 ), Bush Pastor Mike Leggett (1971) and the time Steve Dwoskin (1969). The aim was to make voyeurism and illusion theater overlooking the official picture.
This formula encourages selective organization. If LFMC Democratic workshop approach was developed in the climate of anti-imperialist radicalism, movie news networks to win the poetry and Peoples' Rights indicates faster developed by the British Film Institute (BFI), the second film and independent filmmakers union. Many of the leaders of the London art schools and film the British Arts Council and the Subcommittee Creators in 1977. Until now, the whole business has been set up with the cultural politics and aesthetics of the late 1960s and penetrated 1970th
Formalist cannon as soon as the subway, anarchist and gay leaders like Derek Jarman criticism, James Mackay, who burst into the John Maybury, Steve Chivers, Holly Warburton Michael Kostiff, Cerith Wyn Evans and related Isaac Julien. Often the progress of the trans medium of film Super 8 festivals in Europe (1984 7) and innovative merged video and film technologies (in particular, Jarman and Peter Greenaway). Academic criticism was mostly deconstructive and psychoanalytical theory on the screen and frame. This is the English advertising agencies structural / materialistic emphasis on the release of the instrumental reason and the power of reproductive health of the camera, and Laura Mulvey, resist the refusal of voyeurism of narrative film. Penthesilea: Peter Wollen, whose long-term goal is to compose the formalism aesthetic policy of the European avant-garde, in collaboration with Mulvey milestone for film production was the queen of the Amazons (1974) simulate the game of Kleist, and questioned the role and ground feminist images; and the mystery of the Sphinx (1977) examined the relationship mother / child Oedipus encountered the Sphinx, the opening of the mythical images of women and ending with the Sphinx of Egypt in the face of Greta Garbo. While the English advertising agencies
and Le Grice was interested walked in all material respects, ideology, Mulvey and Wollen same ideology criticism and mystification of the film medium. Similar projects were analyzed self-recognition of Steve Dwoskin Girl (1974), the film naked woman disturbed the camera so that the public statements voyeuristic position, phase and mirror Carola Klein (1978), home video mirror daughter. In telling stories (1978), deconstructed Richard Woolley British culture through the study of film cliches TV soaps like Coronation Street and Crossroads. William and Marilyn Rabin black and silver (1981), based on Velázquez "Las Meninas painting, is an experimental narrative birthday Oscar Wilde of Infanta, that. In the middle of the film Peter Watkins The project goal at a critical reflexive practices that generally undermine the conventions of the medium.
Questions narrative technique subjectivity, documentation, autobiography and has consistently worked on feminist filmmakers break with LFMC own circles of East London. Sally Potter's Thriller (1979) analyzed the popular story, using the back Mimi in La Boheme investigate the routine of death, emotions and drama. Gold Digger Potter (1983) here for the transportation surreal fever gold used to search for information. Lis Rhodes Light Reading (1978) explores the formal aspects of the film through an autobiographical material, the development of the earlier concerns of prospective films and storytelling Le Grice. Most of these films. In the medium of film and narrative codes and conventions British vanguard, the shape and content of the medium has always been an important part of the message. While in Le Grice currently involved in the production of computers and electronic image, others are interested in the life of the illusion of copies and a relationship between image and sound. Focus on film material was not always so. Avantgarde, from the beginning of structuralist reflected in violent politics, but always according to radical groups like the Leeds Animation Workshop, Black Audio Film Collective and Sankofa Film and Video Collective was. His strength is his ability to adapt and successfully operate a wide range of audiovisual media services. With the theater area and television and animation videos
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