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Jonas Mekas Und Das New American Cinema“

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Jonas Mekas Und Das New American Cinema“ DIPLOMARBEIT Titel der Diplomarbeit „Jonas Mekas und das New American Cinema“ Verfasserin Eva Mikes angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, Februar 2011 Studienkennzahl lt. Studienblatt: A 0306281 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft Betreuerin / Betreuer: Univ.-Prof. Dr. Christian Schulte Dank Für die hilfreiche Unterstützung und Geduld möchte ich mich besonders bei folgenden Personen bedanken: Univ.-Prof. Dr. Christian Schulte, Dr. Marc Siegel (HU Berlin), Robert A. Haller (Anthology Film Archives), Margaretha Mikes, Walter Mikes, Irina Ivanovic, Timothy Lafitte, Silvia Swoboda, C. Mate Besonderen Dank möchte ich an Jonas Mekas für die für mich sehr wertvolle Zeit der Unterstützung richten, sowie an das Büro für Internationale Beziehungen der Universität Wien für die Zuerkennung eines Stipendiums für “Kurzfristiges Wissenschaftliches Arbeiten im Ausland“, wodurch mir eine Recherche an den Anthology Archives in New York City ermöglicht wurde. 2 „One could also say, there is an area in the human mind (or heart) that can be reached only through cinema, through that cinema that is always awake, always changing. Only such cinema can reveal, describe, make us conscious, hint at what we really are or what we aren‟t, or sing the true and changing beauty of the world around us.”1 Jonas Mekas, 1962 1 Mekas, Jonas: Notes on the New American Cinema. In: Film Culture Reader. Sitney, P. Adams (Hg.). New York: Cooper Square Press 2000. S. 105. 3 4 Inhaltsverzeichnis 1. Einleitung ......................................................................................................................... 6 2. New American Cinema .................................................................................................. 10 2.1. Diskussionen um den Terminus .......................................................................... 10 2.2. Definition des Terminus ...................................................................................... 12 2.3. Gesellschaftspolitischer Kontext der Bewegung ................................................. 17 2.4. Geschichte des New American Cinema in den USA ......................................... 19 2.5. New York und die New American Cinema-Filmszene in den Sechzigern .......... 28 2.6. New American Cinema als kulturelle Formation ................................................ 30 3. Jonas Mekas ................................................................................................................... 34 3.1. Biographie ............................................................................................................... 34 3.2. Jonas Mekas und das New American Cinema ....................................................... 37 3.3. Anthology Film Archives ........................................................................................ 43 4. Filme .............................................................................................................................. 47 4.1. GUNS OF THE TREES ................................................................................................. 49 4.2. NOTES ON THE CIRCUS ............................................................................................. 58 4.3. DIARIES, NOTES AND SKETCHES. ALSO KNOWN AS WALDEN .................................. 63 4.4. Vergleich der Filme ................................................................................................. 74 5. Tagebuchfilm ................................................................................................................. 79 6. Fazit ................................................................................................................................ 86 7. Anhang ........................................................................................................................... 91 7.1. Abstract (Deutsch/ Englisch) .................................................................................. 91 7.2. „Darwinian Selection in Art“ – Ein Gespräch mit Jonas Mekas ............................ 92 7.3. Filmprogramm des “Festival of two worlds”, Spoleto ........................................... 97 7.4. Literaturverzeichnis ................................................................................................ 99 7.5. Internet Ressourcen ............................................................................................... 103 7.6. Filmverzeichnis ..................................................................................................... 104 7.7. Abbildungsverzeichnis .......................................................................................... 104 7.8. Film- und Videographie von Jonas Mekas ............................................................ 105 7.9. Publikationen/ Schriften von Jonas Mekas ........................................................... 108 7.10. Lebenslauf ........................................................................................................... 110 5 1. Einleitung Abb. 1 Sie könnten ebenso von Kinderhand gezeichnet sein, doch diese einfachen Blumen stammen von einem der bekanntesten Avantgardefilmemacher unserer Zeit – Jonas Mekas. Dieses Motiv ziert einige Ränder filmhistorisch bedeutender Manuskripte, Manifeste und publizierter Annoncen. Der Ernsthaftigkeit so manch theoretischen Textes fügte Mekas dieses verspielte Element bei und enthebt Theorie dadurch der Unnahbarkeit und der Distanz zu Alltäglichem. Jonas Mekas„ Begabung, Einfachheit und Alltäglichkeiten erstrahlen zu lassen, und seine einzigartige Sensibilität für Schönheit, für Poesie, sind auch in seinen Arbeiten zu finden. Nicht nur als Filmemacher erlangte Jonas Mekas seine heutige Bekanntheit, sondern auch durch sein kulturpolitisches und kuratorisches Engagement in der sich ab den Sechziger Jahren entwickelnden unabhängigen Filmbewegung in den USA, dem New American Cinema, ebenfalls als Undergroundfilm bezeichnet. Jonas Mekas gilt als deren Leitfigur. Ein revolutionäres, verruchtes Flair umgibt diese Filmbewegung bis zum heutigen Tag: „Allein das Wort [Undergroundfilm] steckt voller Ahnungen von Gefahren und Geheimnissen, von Widerstand, Revolution und Befreiung - und nicht zu vergessen: Verkommenheit, Verlorenheit, sogar Wahnsinn.“2 Die Filme bestechen auch noch beinahe fünf Jahrzehnte später durch ihren unkonventionellen Charakter und ihre individuelle Ästhetik. Die Ansicht, dass der Individualismus der KünstlerInnen in den USA verhindere eine Avantgardefilm-Bewegung entstehen zu lassen, vertritt P. Adams Sitney: „Avant-garde film-making in the United States has never been a movement; the individualism of the artist prevented that. Yet there have been collective drifts, general tendencies (always with contemporary exceptions, of course), around which the film historian can structure his observations.”3 Tatsächlich scheint diese Szene, durch die sehr unterschiedlichen Werke, die ihr zugeschrieben werden und die teilweise zerstreut wirkenden Strömungen, die parallel 2 Hoberman, James/ Rosenbaum, Jonathan: Undergroundfilm. In: Mitternachtskino. St. Andrä-Wördern: Hannibal Verlag 1998. S. 44. 3 Sitney, P. Adams (Hg.): Film culture reader. New York: Cooper Square Press 2000. S. 4. 6 verliefen, nur schwer fassbar. Eine theoretische Annäherung an das New American Cinema findet oftmals durch eine Auseinandersetzung mit charakteristischen Aspekten auf formaler und thematischer Ebene statt, oder mit KünstlerInnen und deren Arbeiten. Häufig vertreten sind unter anderem Stan Brakhage, Ken Jacobs, Marie Menken, Kenneth Anger, Andy Warhol und eben auch Jonas Mekas. „In no career are the trials and the triumphs of alternate cinema more completely exemplified than in that of Jonas Mekas; in his endeavors as a filmmaker, a theorist, a critic, an archivist, an exhibitor, a distributor, a tireless publicist, and in many cases a self-sacrificing financier of other filmmakers, this self-styled “raving maniac of cinema” was the underground's nurturing genius.”4 Zu dem umfangreichen filmischen Werk von Mekas, das mittlerweile ungefähr siebzig Film- und Videoarbeiten umfasst und Aufnahmen der letzten sechzig Jahre enthält, und zu seiner Position im Umfeld des New American Cinema liegen einige Studien vor. Seine künstlerische Praxis betreffend konzentrieren sich die theoretischen Auseinandersetzungen weitgehend auf die gleichen Werke,5 vor allem über seine aktuellen Arbeiten liegen nur wenige theoretische Abhandlungen vor. Jonas Mekas„ ebenfalls recht umfangreiches literarisches Werk bleibt ebenso bis heute eher unbeachtet. Dies ist unter Umständen auch auf den sprachlichen Aspekt zurückzuführen, denn viele seiner Gedichte und Prosawerke erschienen bis dato ausschließlich in seiner Muttersprache Litauisch. In dieser Arbeit möchte ich mich nach näheren Erläuterungen der verschiedenen Termini, die für die unabhängige Filmszene der Sechziger Jahre in den USA verwendet werden, durch eine Skizzierung charakteristischer Merkmale der Filme des New American Cinema einer Definition annähern. Ein geschichtlicher Überblick soll die Vorgänge und Entwicklungen der damaligen Zeit und im Anschluss daran der Bewegung vermitteln und die nötige Basis bilden, um folgend im Detail auf die Person Jonas Mekas, seine verschiedenen Tätigkeitsbereiche und seine daraus resultierende Schlüsselposition einzugehen. Die Entwicklung seiner künstlerischen Arbeitsweise soll anhand der vergleichenden Analyse von drei in den Sechziger Jahren
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