1. What changes in the American avant-garde are associated with the rise of structural film and the creation of Anthology Film Archives in 1970? How does these changes affect:
a. The participants (filmmakers, critics) in the avant-garde community?
The artists' authenticity clashes with the pretentiousness of critics and academics. In this respect, the complaint against academization is directed less against the fact that avant-garde films are taught in universities that an the language of that instruction, especially the rise of theory and it's specialized terminology in the 70's and 80's, which many artists saw as an intimidating barrier to institutional recognition. There was a struggle between those who wee embraced by universities and those who were not.
b. Canon formation (which films are considered “important,” and taught in classes).
Seen as a force of old guard filmmakers and those favored by academic institutions at the expense of young, developing artists many of which were emerging from art schools.
c. Distribution and exhibition practices.
Distribution and exhibition was on a move from the theater to the classroom. the dominant percentage of rentals switched from nan-academic to academic sites.
2. Briefly explain the debate between autonomy and engagement within the avant-garde. How does this debate play out in the 1980s?
The autonomy or self governing of avant-garde became one that bred discontent due to the fact that only certain films were highly regarded and programmed at academic institutions leaving the filmmakers that were not programmed upset with the institutions.
3. What are the negative aesthetic connotations of the “academic avant-garde film”? What is the major critique from new filmmakers who emerged in the 1980s?
The negative aesthetic connotations were that the academic avant-garde filmmakers were making films that were becoming repetitive or copy catting form and structure instead or being creative and coming up some with something new and fresh of their own devices.
4. What are the five legacies of the academicization of the avant-garde?
1) The maintenance (to the point of dependence) of distribution co-ops, as the classroom became the dominant site of exhibition.
2)Regionalization, as centers of avant-garde film activity expanded beyond New York to multiple regional sites.
3) Publication mechanisms for the writing, and dissemination of the history, criticism, and theory of avant-garde.
4) Employment for filmmakers as faculty or technical personnel.
5) Development of 2nd and 3rd generation students becoming critics, teacher, programmers, and archivists.
Marc Masters, “The Offenders: No Wave Cinema”
5. Name at least three similarities between the punk music scene and the punk/no-wave filmmaking scene, in terms of technology, style, and community.
1) The musicians and the filmmakers both exhibited their works at the same places like CBGB's.
2) They would both switch up roles or jobs in their art making processes.
3) Both would learn their tools of their particular trade as as they go.
6. What were the exhibition venues for punk/no-wave films such as those by Beth B. and Scott B., and how did the venues affect film content and style?
The exhibition venues for the punk/no wave films were clubs like CBGB's and Max's Kansas City, the audience members consisted of punkers who were usually drinking. They could be loud and belligerent and if they were interested in the film the filmmakers knew they were doing something right.
7. What are some similarities and differences between the American avant-garde we have studied so far and the Punk or No Wave filmmaking in the late 1970s? Address the following areas:
a. Aesthetic similarities and differences (which filmmakers do the cite as influences, which filmmakers do they reject?)
They were trying to blur the line between reality and performance (sometimes by using non- professional actors) like a throwback to Warhol's films as well as using low grade fimstock like Jack Smith.
b. Technological similarities and differences
They both went for quick production of their art. The No-Wavers used Super 8 so they could shoot quickly and screen instantly.
c. Economic similarities and differences
They both went for cheap means of production for instance using the Super 8 camera.
d. Social similarities and differences
They both came from the same social scene one that was anti conformist with a feeling of angst.
Janet Cutler, “Su Friedrich, Breaking the Rules”
8. In what ways does Friedrich “break the rules” in terms of mixing filmmaking practices? How have different critics approached her different films? What kinds of avant-garde sub-genres has she explored?
She shot her versions of the psychodrama/ trance film, structural film and her diary film. She also did narrative and documentary films. She broke the rules by employing methodology from various genres and styles of avant- garde films and made them her own in her own unique way.
9. What are some of the distinguishing characteristics of “Sink or Swim”?
In "Sink or Swim" Friedrich employs music for the first time (the Shubert song and the ABC ditty) also 26 scenes which parallel the letters of the alphabet in reverse order, some have wound and some are silent, and some include autobiographical voice-over.The film was a chronicle of her life and her feelings towards her father.
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