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Transcending the Documentary: the Films of Arthur Lipsett

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Transcending the Documentary: the Films of Arthur Lipsett Transcending the Documentary: The Films of Arthur Lipsett Michael Dmcsok A Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for a Degree in Master of A.rts at Concorda University Montreal, Quebec, Canada June 1998 O Michael Dancsok, 1998 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibtiographic Services services bibliographiques 395 Wellington Street 395. nie Wellington Ottawa ON KIA ON4 OttawaON KIAON4 Canada Canada Your file Votre faference Our iYe Norre rël&enu? The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. TRANSCENDING THE DOCUMENTAR Y= THE FILMS OFARTHUR LIPSETT Michael Dancsok Arthur Lipsett ( 19%- 1986) was an innovative 'collage' filmmaker who worked at the National Film Board of Canada WB)from 1958 to 1970. By combining *found film footage' and sound with images he shot, his work explored the human condition and chailenged conventional notions of documentary film and representation. Although he made award-winning films, and his techniques have since ken incorporated widely into much film practice' his work has been vimially ignored by film scholars. One reason for this rnay be the difficulty in positioning his work within a specific film practice. His films are a bridge between avant-garde and documentary, making them difficult to categorize. Another reason could be the apparent ambivalence within film studies towards the avant-garde's contribution to filrnmaking, as well as Lipsett's own ambiguous relationship with this aesthetic. Finally the NFB, an institution that has had an evolving interpretation of its mandate, may have determined the ultimate acceptance of lipsett's films. The institution that Lipsett deeply depended on may have contrïbuted to the minimal amount of access the Canadian viecling public had to his films. Through a multiperspectival analysis this thesis explores the complexity of these issues, and in doing so points to the significance of Arthur Lipsett as a filmmaker. In this exploration several questions arise conceming the relationship between avant-garde and documentary filrnmaking, and the nature of Lipsett's involvement with each. The thesis wiIl also analyze a number of influences on Lipsett's work including his farnily background, his position at the Film Board, and his mental state during and following his tenue there. In addition because of the importance of carion formation, the process will be assessed in a Canadian context and its bias revealed. The primary purpose of this research is to contribute to a broader discussion about Lipsett's position in Canadian film histo~. ACKNO WZEDGEMENTS This thesis would not have been completed without the assistance and guidance of the following people: 1 was forninate and privileged to have as an advisor Rick Hancox. Because of his experience as a filmmaker, and because of his many years as a professor and advisor to a large number important filmmalcers in Canada, 1felt that I was able to tap into a resource that is rich and rare. His howledge of filmmaking was a valuable guide in my theoretical formation of Arthur Lipsett's motivations and prscbce. In addition, his ability to focus on details helped me to clarify my thoughts and forced me not to accept mediocrity in doing the research or writing. His dedication to the project was deeply appreciated. And although he has wamed me against making any apologies, 1 do apologize to him for any inconveniences this project may have given him. Bernard Lutz, Archivists at National Film Board of Canada took time to sit down and discuss with me ail the quirhy, anomalies tied to the otherwise "normal" documents in their holdings. His understanding of the institution and the people involved ~4ththe Board was very valuable in assisting me to form sorne ideas about the Board's influence on Lipsett's work. Eric Vanasse, Archivist at the Museum of Fine bsand al1 the staff at the Mediathéque Cinémathèque québécoise were always willing to answer any questions. Their professional attitude was well appreciated. These archives are highly recommend for any researcher. The people 1 interviewed were very generous with their time. They also showed a strong conviction in contributing to "Arthur3 star).‘'. 1 particularly wish to Ùiank Christopher Nutter who discussed Lipsett's work and personality with me over two dqs and many cups of cof5ee. 1 will never forget the staff at Concordia University Archives - Nancy, Natalie, Caroline, Vincent, Yves. Your understanding and sympathy has shown me what tnie fi-endship is al1 about. 1 am sony for any inconvenience 1 have given you over the last two or three (!) years. You vd1 always be special fnends to me and I hope you realize 1 would not have accomplished this without your collective strength. It's with great affection that 1thank you. My Yuko. Itsurno, itsurno... TABLE OF CUNTENTS Cbapter 1 - Introtahcrion 1.1 Introduction 1.2 Expianation of the Title 1.3 Statement of Probiem 1.4 Research Questions 1.5 Significance 1.6 Review of Literature 1.7 Research Methods 1.8 Theoretical Considerations 1.9 Other Theoretical Consideration Chapter 2 - The Films of A~fhurLipsett in Relation to Avant-garde and Documentaty Filmmaking Ractices 2.1 Introduction 2.2 The Films 2.3 Arthur Lipsett's Collage Techniques and Avant-garde Filmrna king 2.4 Arthur Lipsett's Collage Techniques and Documentary Filmmaking 2.5 Compilation and Collage Filmmaking Chapter 3 - Conrertualiting the Films of .4rthur Lipsm His Life and Influences 3.1 Introduction 3.2 Before the National Film Board 3.3 Life in the National Film Board 3.4 Life after the National Fim Board Chapter 4 - Canon Formation. The Cinema We .Veed Debate and the Films of Arthur Lipseît 4.1 Introduction 4.2 Canon Formation 4.3 The Cinema We 3eed Debate 4.4 Other Issues Relatd to Canon Formation Chapter 5 - Conclusion Seiected Bibliographj Anewspapm Clippings Rimas, Source Inten+ws Filmography Appendl.1~A AppendLic B Appentlix C The first tirne 1 watched an Arthur Lipsett film \vas in 1985. I was a second year undergraduate student in the University of Regina's Film and Video Department. The film was 21-87 (1963). The professor, Chris Gallagher, showed us this film to demonstrate how unique editing techni-ques could create profound interpretations of the world around us. At the time 1 remember feeling totally liberated by the film. There were probably several reasons for this. With 21 -87 1 could ignore the narrative developed by Lipsea and create my own; 1 could follow the patterns created by the uniquely combined sounds and images without atternpting to rationalize hem;or I codd tq to work out the punle Lipsett had to offer. niese choices did not seem to be n&t or wong but equal. In addition, the film introduced me to the numerous possibilities available when producing a film - possibly m- own film. Two years later, after spending a year teaching in China, 1 retumed to the University to complete my film degree. I was having trouble trying to find an idea for a film or video project that I could afford to make in order to graduate. Knowing my financial woes, Richard Kerr, who had recentl?. become a faculty member in the Department, shoved an article in front of me and said, "Here- Read this. It's about a guy who used found footage to make films". It was Lois Siegel3 1986 article in Cinemu Canudu, "A Clown Outside the Circus" and was, more or less, an obituaq about Arthur Lipsett. Siegel interviewed some of Lipsett's colleagues. and revealed how some of his films were made. It was afier reading this article I decided to make a found film collage on video. 1 dug through National Film Board science films that Kerr had salvaged fiom a garbage bin when the distribution office of the NFB in Regina closed. It took me six months to make a four minute piece titled Embynic Developmenr of Fish (1989). The vide0 was an examination of the physical differences between film and video, and it explored how the sublime image distorts the experience of witnessing. The video cost me only one hundred dollars. Naturally, it paled in cornparison to Lipsett's work. I had made my collage out of convenience. Conversel-, Lipsett was using the collage technique to explore the concepts of art and representation with a mature intellect, one nurtured with a strong sense of purpose. My work didn't have the texture and irony that his films seemed to possess. But of greater significance was rny disappointment in leaming that Lipsett's obvious filmmaking talent has been largely forgotten by film critics and scholars. It is the intention of this paper to try uncover why this seems to be the case, and in doing so hopefully open avenues of discussion about Lipsett's work which might generate the kind of recognition 1believe he deserves. 1.1 Introduction In 1962 a twenty-five old Arthur Lipsett at the National Film Board of Canada was nominated for an Academy Award for his film VepNice.
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