By Peter Gidal
A polemical advent to the avant-garde and experimental in movie (including making and viewing), Materialist movie is a hugely unique, thought-provoking book.
Thirty-seven brief chapters paintings via a sequence of suggestions for you to let the reader to deal imaginatively with the contradictory concerns produced through experimental movie. every one idea is explored together with particular motion pictures by way of Andy Warhol, Malcolm LeGrice, Lis Rhodes, Jean-Luc Goddard, Rose Lowder, Kurt Kren, and others.
Peter Gidal attracts on very important politico-aesthetic writings, and makes use of a few of his personal formerly released essays from Undercut, monitor, October, and Millennium movie magazine to adopt this concrete strategy of operating via summary thoughts.
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Additional info for Materialist Film
One way perception versus knowledge might be filmically constructed is stated in these notes from Condition of Illusion (1975): "This film is, in its viewing, a process that attempts to make sure of a retroactive reading, whilst viewing. Reading/viewing as knowledge, not immediate 'realization/ Not an image (of 'a splice' for example) but a knowledge (of 'that'). 'That' being textually functional/transformational, not static. "The final print necessitated three internegatives which were edited together, a + b rolled expressly to suppress, as in dominant, conventional cinema, the connecting splices.
This critique set filmmaking and its research-work, both theoretically and practically, one step forward. The articulation of theory of, for, and as film, is how such materialist experimental work operates, and operated at the London Film Co-op since 1967. 8 Perception versus knowledge This is a complexity instilled by the materialist process of some works, whilst others give perception and the perceived the ideology of a oneness, the true, for the perceiver. Still others give truth as cinematically hidden from perception, alluded to from offscreen, implied, metaphorized.
This is a dealing in symptoms, causes remain un-explained. The material relations which produce, inside the Bauhaus, inside culturally sophisticated and philo-Semitic Berlin 'cultural circles' an overt anti-Semitism on the part of Kandinsky, this is not clarified at all. We are asked, in other words, to simply identify with the persecuted, an unthought, undistanciated, unreflexive identification. ' Straub/Huillet in the Schonberg film do not deal with the conditions or relations either, let alone doing that and making a film which does work on film, on and against the codes, structures, forms, processes, positions, of filmic representation which produce and reproduce precisely the positions that they are 'against'.