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The American Film Institute and Philanthropic Support For View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier “IN THE BEST INTERESTS OF THE COUNTRY”: THE AMERICAN FILM INSTITUTE AND PHILANTHROPIC SUPPORT FOR AMERICAN EXPERIMENTAL AND INDEPENDENT CINEMA IN THE 1960s. BY R CI R RE A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR IN PHILOSOPHY AT EDINBURGH NAPIER UNIVERSITY APRIL 2013 ii Contents Tables ........................................................................................................................ vi Figures ....................................................................................................................... vi Acknowledgements .................................................................................................. vii Abbreviations .......................................................................................................... viii Abstract ..................................................................................................................... ix INTRODUCTION .......................................................................................................... 1 Defining Experimental and Independent Cinema ....................................................... 2 Personal Films and the Medium-Specific Evolution of Avant-Garde Cinema ........... 6 Philanthropic Support and Avant-Garde Arts ........................................................... 12 Experimental Cinema in Academic Institutions ....................................................... 18 Early Philanthropic Support for Non-Theatrical Cineiíma and Film Culture ........... 20 The Crossover of Experimental and Independent Cinema during the 1960s............ 21 Methodology ............................................................................................................. 24 Chapter 1 ....................................................................................................................... 30 EXPERIMENTAL AND INDEPENDENT CINEMA AND THE DEVELOPMENT OF NON-THEATRICAL CINEMA IN THE 1930s 1.1 Early Film Regulation ......................................................................................... 30 1.1.1 Expansion of the U.S. Film Industry ............................................................ 32 1.2 Avant-Garde Cinema in the 1920s ...................................................................... 34 1.3 The 1930s: Politics, Films and Propaganda ........................................................ 36 1.3.1 U.S. Documentary Film in the 1930s ........................................................... 37 1.3.2 Independent Documentary Filmmaking ....................................................... 38 1.4 Film Education Policies ...................................................................................... 40 1.4.1 Another American Film Institute ................................................................. 42 1.4.2 Standards in Film Education Policies .......................................................... 44 1.4.3 Film Production and Educational Purposes ................................................. 48 1.4.4 Resources for Audiovisual Education .......................................................... 50 1.5 Independent Sponsored Documentaries .............................................................. 51 1.5.1 The American Film Center .......................................................................... 52 1.5.2 Sponsored Films and the War Effort ............................................................ 54 Summary ................................................................................................................... 55 Chapter 2 ....................................................................................................................... 57 PERSONAL CINEMA AFTER WORLD WAR II 2.1 Early Approaches to American Experimental Cinema ....................................... 57 2.1.1 The Post-war Revival ................................................................................... 58 2.1.2 European Art Cinema after the War............................................................. 61 2.2 Films and Post-war Foreign Policy ..................................................................... 62 2.2.1 The International Film Industry ................................................................... 64 2.2.2 Changes in Demographics, Industry Practices and Censorship ................... 66 2.3 Rising Film Culture in the 1950s ........................................................................ 69 2.3.1 American Film Criticism ............................................................................. 71 2.3.2 Expanding Experimental Cinema ................................................................ 72 2.3.3 The Needs of Independent Filmmakers ....................................................... 74 2.4 Cultural Reactions in the 1960s .......................................................................... 76 2.4.1 Personal Expression and the Liberation of Consciousness .......................... 77 iii 2.5 The 1961 Proposal for an American Film Institute ............................................. 79 2.5.1 Obstacles for American Experimental and Independent Cinema ................ 80 2.6 Changing Theatrical Cinema and Film Education .............................................. 81 2.6.1 Defending Personal Expression ................................................................... 83 Summary ................................................................................................................... 85 Chapter 3 ....................................................................................................................... 86 THE DIRECTIVES OF THE ROCKEFELLER FOUND TION’S ND THE U.S. FEDER L OVERN ENT’S FIL POLICIES 3.1 The 1964 Ford Foundation Grants ...................................................................... 86 3.2 Passing Education Legislation: Science and Equality ........................................ 88 3.2.1 The Implications of the NDEA .................................................................... 89 3.2.2 The Foundations’ Prospects ......................................................................... 90 3.2.3 The Rockefeller Arts Program and Experimental Arts ................................ 92 3.3 Balancing Act: The Arts and Humanities Discussions ....................................... 94 3.3.1 The Technological Utopia ............................................................................ 97 3.2.2 A Medium-Specific Approach to Education ................................................ 98 3.2.3 Experimental Film Production and Film Education..................................... 99 3.2.4 The Policy Priorities ................................................................................... 102 3.4 The Stanford Report and the Objectives of the AFI ......................................... 104 3.4.1 Film Education in the SRI Report .............................................................. 105 3.4.2 The Theatrical Film Sector......................................................................... 107 3.4.3 Development of the Non-Theatrical Sector ............................................... 109 3.5 Changes in Standards of Content and the Film Industry’s odel in the late 1960s ....................................................................................................................... 114 3.5.1 The Future of Film Training and Film Studies .......................................... 117 Summary ............................................................................................................. 118 Chapter 4 ..................................................................................................................... 120 DIFFERENTIATING EXPERIMENTAL AND INDEPENDENT CINEMA 4.1 The Late 1960s: Experimental Films, Arts and Academia ............................... 120 4.1.1 o ’s 1965 Independent Film Series .................................................... 122 4.1.2 The Underground at MoMA ...................................................................... 124 4.1.3 Discussing Personal Expression ................................................................. 125 4.1.4 The Greater Expectations of Expanded Cinema ........................................ 127 4.2. The Rockefeller Grants and National Development ........................................ 128 4.2.1 Criteria on Individual Grants ..................................................................... 129 4.2.2 Dissemination of the Underground Canon ................................................. 131 4.3 Personal Films in Cultural Diplomacy .............................................................. 134 4.3.1 American Experimental Films and Australian Censorship ........................ 135 4.4 Medium-Specificity and Audiovisual Education .............................................. 137 4.4.1 Experimental Television and Video ........................................................... 138 4.4.2 Avant-Garde Film and Film Theory .......................................................... 140 Summary ................................................................................................................. 144 Chapter 5 ..................................................................................................................... 145 THE AFI PRODUCTION GRANTS: EXPANSION OF THE NON-THEATRICAL
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