source guides experimental film

National Library experimental film 16 + Source Guide contents

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INFORMATION GUIDE STATEMENT ...... i BFI NATIONAL LIBRARY ...... ii ACCESSING RESEARCH MATERIALS ...... iii APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iv

INTRODUCTION ...... 1

GENERAL REFERENCES ...... 1

FOCUS ON:

DEREK JARMAN ...... 4 CHRIS MARKER ...... 6 MARGARET TAIT ...... 10

CASE STUDIES: ANGER, BRAKHAGE, AND WARHOL ...... 12

KENNETH ANGER ...... 13 STAN BRAKHAGE ...... 17 ANDY WARHOL ...... 23

Compiled by: Christophe Dupin Stephen Gordon Ayesha Khan Peter Todd

Design/Layout: Ian O’Sullivan

Project Manager: David Sharp

© 2004 BFI National Library, 21 Stephen Street, London W1T 1LN 16+ MEDIA STUDIES

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i BFI National Library

All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library

BFI National Library Reading Room Opening Hours:

Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm

If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel. 020 7957 4824, or email [email protected]).

BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel. 020 7255 1444 www.bfi.org.uk/filmtvinfo/library

The library’s nearest underground stations are Tottenham Court Road and Goodge Street. For a map of the area please see: www.bfi.org.uk/filmtvinfo/library/visiting

BFI National Library ii Accessing Research Materials

Copies of articles

If you are unable to visit the library or would like materials referred to in this guide sent to you, the BFI Information Service can supply copies of articles via its Research Services. Research is charged at a range of hourly rates, with a minimum charge for half an hour’s research – full de- tails of services and charges can be found at: www.bfi.org.uk/filmtvinfo/services/research.html

For queries about article copying or other research, please contact Information Services at the above address or telephone number, or post your enquiry online at: www.bfi.org.uk/filmtvinfo/services/ask

Other Sources

Your local library

Local libraries should have access to the inter-library loan system for requesting items they do not hold and they may have copies of MONTHLY FILM BULLETIN and SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger libraries will hold other rele- vant materials and should offer internet access.

Your nearest college/university

Universities may allow access to outside students, though you may not be able to borrow books or journals. Ask your reference librarian, who should be able to assist by locating the nearest college library holding suitable material. The BFI Film and Television Handbook lists libraries with signifi- cant media collections.

Your school library

Local bookshops

Some of the books mentioned in the bibliography will be in print and your bookshop should be able to order items for you.

The British Library Newspaper Library

The Newspaper Library will have all the newspaper items referred to in this guide. Contact the li- brary first if you wish to visit. 16+ students under the age of 18 will need to make an appoint- ment.

The British Library Newspaper Library Colindale Avenue London NW9 5HE Tel. 020 7412 7353 Email:[email protected] www.bl.uk/collections/collect.html#newsBL

BFI National Library iii Approaches to Research by Samantha Bakhurst

Why do research?

You cannot simply rely on your existing knowledge when approaching essays in Media Studies. Although you will have some understanding of the area being explored, it is not enough to enable you to examine the area in depth. If you were asked to write about the people in your street in de- tail, you might have some existing information about names, faces, relationships, issues and ac- tivities but this knowledge would not offer you details such as every single one of their names, who knows who, who gets on with whom, how people earn a living, what has happened to them in the past and so on. This extra information could change your opinions quite dramatically. With- out it, therefore, your written profile would end up being quite shallow and possibly incorrect. The same is true of your understanding of media texts, issues and institutions.

Before researching any area, it is useful to be clear about what outcomes you are hoping to achieve. Research is never a waste of time, even when it doesn’t directly relate to the essay you are preparing. The information may be relevant to another area of the syllabus, be it practical work or simply a different essay. Also, the picture you are building up of how an area works will strengthen your understanding of the subject as a whole. So what outcomes are you hoping to achieve with your research?

A broad overview of the area you are researching: This includes its history, institutions, conven- tions and relationship to the audience. Research into these aspects offers you an understanding of how your area has developed and the influences that have shaped it.

An awareness of different debates which may exist around the area of study: There are a range of debates in many subject areas. For example, when researching audiences you will discover that there is some debate over how audiences watch television or film, ranging from the passive con- sumption of values and ideas to the use of media texts in a critical and independent way. Any dis- cussion about censorship, for example, will be extremely shallow if you have no knowledge of these different perspectives.

Some knowledge of the work of theorists in the area: You need to demonstrate that you have read different theorists, exploring the relevant issues and investigating the area thoroughly in order to develop your own opinion based on acquired knowledge and understanding.

Information relevant to all key concept areas: You should, after research, be able to discuss all key concept areas as they relate to that specific subject area. These are the codes and conventions, representation, institutions and audience.

Types Of Research

Primary: This is first-hand research. In other words, it relies on you constructing and conducting surveys, setting up interviews with key people in the media industry or keeping a diary or log of data (known as quantitative information) on things such as, for example, what activities women are shown doing in advertisements over one week of television viewing. Unless you are equipped to conduct extensive research, have access to relevant people in the media industry or are thor- ough in the up-keep of your diary or log, this type of research can be demanding, complex and sometimes difficult to use. Having said that, if you are preparing for an extended essay, then it is exactly this type of research which, if well used, will make your work distinctive and impressive.

Secondary - printed sources: This is where you will be investigating information gathered by other people in books, newspapers, magazines, on radio and television. All of these sources are excellent for finding background information, statistics, interviews, collected research details and so on. This will form the majority of your research. Some of these will be generally available (in public li- braries for example); others such as press releases and trade press may only be available through specialist libraries. BFI National Library iv Secondary - online sources: Online sources are also mainly secondary. You will need to be able to make comparisons between sources if you intend quoting online information, and to be wary of the differences between fact and opinions. Don’t necessarily assume something is a fact because someone on a website says it is. Some websites will be “official” but many will not be, so you need to think about the authority of a site when assessing the information found on it. The structure of a website address (URL) can indicate the site’s origin and status, for example, .ac or .edu indicate an academic or educational institution, .gov a government body, .org a non-profit organisation, .co or .com a commercial organisation. Websites sometimes disappear or shift location - make sure you can quote a URL reference for a site, and perhaps keep a note of the last date that you checked it.

Other Media: When considering one area of the media or one particular product or type of prod- uct, it is very important that you compare it with others which are similar. You will need to be able to refer to these comparisons in some detail so it is not enough to simply watch a film. You will need to read a little about that film, make notes, concentrate on one or two scenes which seem particularly relevant and write all of this information up so that you can refer to it when you need to.

History and development: Having an understanding of the history and development of the media text which you are researching will provide a firm foundation and context for contemporary analysis. There is a difference between generally accepted facts and how theorists use these facts.

Theory: This is the body of work of other critics of the media. Most of the books and periodical ar- ticles which you will read for research will be written by theorists who are arguing a particular viewpoint or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming in- volved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowledge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all references to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980. 2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with relevant information such as the di- rector, date of release or transmission, production company and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

BFI National Library v general references This section covers key texts on English avant-garde movement in experimental film and video, stud- books the late 1960s. In this study of the ied from historical, theoretical, film avant-garde in several coun- and/or critical perspectives. The DANINO Nina and MAZIERE, tries, Dwoskin devotes a whole notion of experiment in the fields of Michael chapter to the development of the film and video has, over the years, The Undercut reader: critical writ- English avant-garde. He has an been applied to a variety of prac- ings on artists’ film and video outsider’s interesting point of view tices. For instance, it has often London; New York : Wallflower Press, and proves very critical about the been associated with technological 2003, 277 p.; illus British attitude towards film innovation, training new filmmak- avant-garde in general. ers or even the idea of ‘work in This anthology consists of essays progress’. The following list, how- from Undercut, the only British ever, focuses on experimental film magazine dedicated to artists’ film ELLIS, John (ed) as an artistic project which has and video in the 1980s, as well as 1951-1976: British Film Institute had, as Michael O’Pray puts it, newly-commissioned articles by productions: a catalogue of films “more in common with the aspira- leading critics in the field. It made under the auspices of the tions of other visual arts in [the explores in particular the aesthet- Experimental Film Fund 1951- 20th] century than with commer- ics and politics of what has been 1966 and the Production Board cial cinema”, hence the regular called the ‘second wave’ of British 1966-1976. use of labels such as “avant-garde” artists’ film, within the dual con- London: British Film Institute 1977, or “artists’ film” in reference to text of visual arts and the inde- 135p. illus. index such films. In many ways, experi- pendent film sector. mental film is indeed a non-com- The contribution of the BFI mercial project. Not only does it Experimental Film Fund and deny mainstream cinema’s tradi- DUSINBERRE, Peter de Kay Production Board to the funding of tional narrative structure and real- English avant-garde cinema 1966- experimental and independent istic representation of the world by 1974. films in Britain, from Free Cinema exploring new modes of visual and London: University College, [MPhil movement to the political and aes- emotional experience, but it also thesis], 1977, 275p. bibliog. filmogs thetic avant-gardes of the 1970s, 16 + Source Guides: Experimental Film rejects the very production, distri- was far from negligible. This first This is certainly the most compre- bution and exhibition methods of comprehensive catalogue of BFI hensive study of the English film cinema as a profitable industry. productions is more than a mere avant-garde in the late 1960s-early Instead, it seeks to re-invent the catalogue. Not only does it review 1970s, by one of its most respected entire institution of cinema by cre- all films funded by the BFI specialists. Dusinberre’s thesis ating new, independent forms of between 1951 and 1976, but it also examines the formation of the filmmaking. provides the first serious analysis movement around the London Film- The books and articles below of the Experimental Film Fund / makers Co-op (LFMC) in 1966/67 and introduce and examine experi- Production Board’s history in the the Arts Lab. It then analyses in mental film and video’s aesthetic wider context of British cinema in detail the development of this concerns, their political opposition that period, and discusses some of avant-garde until the mid-1970s. to the values of commercial cine- the key aesthetical concerns of the Alternating the factual description ma and the alternative practices independent sector. Two further of the movement and a more theo- which they have developed editions of the Catalogue contin- retical approach to the concept of throughout the 20th century. ued to explore a number of aes- avant-garde, the book is accessible Besides, these texts focus on sev- thetic, institutional and technolog- to non-specialists. Finally, the eral crucial moments in the histo- ical issues at stake in independent appendices reproduce rare docu- ry of experinmental film and cinema. See Elizabeth Cowie (ed), ments such as programmes of video, from the modernist Catalogue: British Film Institute avant-garde screenings, mani- European movements of the 1920s Productions 1977-1978, London: BFI, festos, reports and filmographies to the post-war American under- 1978, and Rod Stoneman and of selected English experimental ground cinema and the various Hilary Thompson (eds), The New filmmakers of that period. In strands of England’s avant-garde Social Function of Cinema: Catalogue, short, this thesis is a must-read on from 1966 to the present. British Film Institute Productions the subject. Finally, the list below includes ‘79/80, London: BFI, 1981 accessible, introductory texts, as well as more specialised and theo- DWOSKIN, Stephen retical ones which require prior Film as film: formal experiment in Film is: The international free cin- knowledge of the subject. film, 1910-1975. ema. London: Arts Council of Great London: Peter Owen, 1975 268p. Britain, 1979, 152p. illus. filmogs plates. bibliog. index This catalogue accompanied an Dwoskin is an American avant- exhibition entitled ‘Film as Film’ at garde filmmaker who emigrated to the Hayward Gallery in 1979, London 1964 and played a crucial which traced the history of experi- part in the development of the mental film practices specifically

BFI National Library 1 interested in the formal qualities British video art from its early MacDONALD, Scott of film. The catalogue, which days in the late 1960s to the 1990s, Avant-garde film: motion studies. divides the history into two peri- from an historical as well as theo- Cambridge: Cambridge University ods (1910-1940 and 1940-1975) retical perspective. It also includes Press, 1993, 199p. illus. filmog. index

Film offers a number of crucial essays a detailed chronology of that sec- on specific movements and trends tor. “Despite the uneven quality of Avant-garde Film offers a critical within this avant-garde, and pro- the essays and some methodologi- analysis of fifteen key films of the vides useful filmographies. cal flaws, the collection offers a avant-garde tradition, all made valuable teaching resource as it between 1966 and the late 1980s. identifies and explores, in a vari- The fifteen chapters are divided GIDAL, Peter ety of ways, themes that are cru- into 3 sections. The first analyses Materialist film. cial to an understanding of British films that focus on aspects of the London: Routledge, 1989, 189p. illus. video art” (Dimitris Eleftheriotis, equipment, material and process index Screen, Spring 1998) that make all kinds of film imagery possible. The second Gidal’s polemical book intends to focuses on aspects of the tradition Experimental theorise ‘materialist film’ through LE GRICE, Malcolm of film as dramatic narrative. The the examination of a series of con- Abstract film and beyond. third concerns films that criticise cepts, explored in conjunction London: Studio Vista, 1977, 160p. the convention that filmmaking is with specific films by avant-garde illus. bibliog. index a national enterprise. The book filmmakers. The radical politics remains fairly accessible to ‘avant- behind Gidal’s theory, inspired by This book gives both a theoretical garde newcomers’. post-1968 politics, is certainly his- and historical account of the main Guides: torically important, but it may preoccupations of abstract film- seem outdated to today’s reader. makers (defined as experimental O’PRAY, Michael (ed.) ce filmmakers dissatisfied with the The British avant-garde film 1926 illusions of time and space created to 1995: an anthology of writing. GIDAL, Peter (ed) by commercial cinema). Le Grice Luton: John Libbey Media/Arts Structural film anthology. discusses the early abstract films Council of England/University of Sour London: British Film Institute, 1976, of the 1920s, American experimen- Luton, 332p. illus. bibliog. index

+ 140p. tal cinema of the 1940s and finally the development of the avant- This book gathers a selection of A classic collection of essays by garde after the war, both in the US articles by academics on British 16 filmmakers and film theorists on and in Europe. experimental cinema throughout ‘structural’ films and filmmakers the century. The article “English of the late 1960s/early 1970s. Avant-garde film: An Early LE GRICE, Malcolm Chronology” by David Curtis (pp. Experimental cinema in the digital 101-121) deals specifically with the HAMLYN, Nicky age. 1960s. Curtis was directly involved Film art phenomena. London: British Film Institute, 2001, in the movement in the late 1960s London: British Film Institute, 2003, 330p.; index as a film programmer for the Arts 200p. Lab, and his recollection of that Malcom Le Grice’s prolific theoreti- period takes the form of a diary. In this book, Hamlyn draws from cal writings on experimental cine- his own experiences as a British ma have been an integral part of experimental filmmaker to investi- his work as a filmmaker ever since O’PRAY, Michael gate the film art phenomenon. His the 1960s. This unique collection Avant-garde film: forms, themes study treats artists’ film conceptu- sheds light on three decades of the and passions. ally in order to explore key cate- artist’s thinking, examines the London, New-York: Wallflowers, gories that connect different works work of other practitioners of 2003, 136p, bibliog. and filmmakers, from ‘classics’ experimental cinema and digital such as Michael Snow, Stan art (it includes for instance two Aimed primarily at “students and Brakhage and Malcolm Le Grice, to extremely interesting interviews the general reader”, this is by no a new generation of artists. For Le Grice held with Brakhage and means a definitive account of the readers.with some previous Sitney in the late 1970s), docu- history of the avant-garde film, but knowledge of the subject. ments the institutional aspects of it provides an in-depth yet accessi- the British avant-garde and ble introduction to the subject. The describes the polemical debates books follows the developments of KNIGHT, Julia (ed) about the nature of the avant- the avant-garde from early mod- Diverse practices: a critical reader garde that took place in the 1970s ernist movements of the 1920s in on British video art. in particular. The title, however, is Europe and the Soviet Union, Luton: University of Luton rather misleading, since the large through to the New Wave and Press,1996, 384p. illus, chronolog. bib- majority of the articles were writ- American Underground of the liog. ten between 1972 and 1982. The Sixties, English structuralism and most theoretical essays in this contemporary gallery work. This long-awaited book brought book do require prior knowledge of together a collection of newly the subject and of the methodolo- commissioned and previously pub- gy and terminology used in analy- lished essays analysing various sis. aspects of the development of

BFI National Library 2 REES, A.L. brought his discussion of the prin- for students, researchers, artists A history of experimental film and cipal genres and major filmmakers and programmers. Also includes video: from the canonical avant- up to the year 2000. the searchable online list of the garde to contemporary British entire Lux catalogue, with links to

Film practice. related materials on Luxonline London: British Film Institute, 1999, STREET, Sarah (see below) 152p. plates. bibliog. index British national cinema. London: Routledge, 1997 http://www.luxonline.org.uk/ A short chapter titled “English Structuralists” (pp. 77-82) sums up pp. 147-168, “chapter 6: borderlines Luxonline is a free comprehensive the development of the LFMC in 1: modernism and British cinema”, on-line resource for people wish- the late 1960s/1970s and its links and pp 169-196, “chapter 7: border- ing to learn about and explore with the ‘structuralist’ movement lines 2: counter-cinema and inde- British artists’ film and video. It is represented by film-makers like pendence” an ongoing project, new features Malcolm Le Grice, Peter Gidal and being regularly added to this virtu- a few others. In these two chapters, Street gives al archive. It includes a large num- Experimental an rather comprehensive overview ber of short, illustrated essays on RENAN, Sheldon of avant-garde and experimental specific themes, artists and works, The Underground Film. An intro- film practices in Britain from the as well as a useful chronology. duction to its development in 1920s to the late 1980s, and pro- America. vides the institutional and political http://www.studycollection.org.uk/ Studio Vista, 1967. 318p., illus. context in which these practices

Guides: developed. Another great web-resource for Despite – or perhaps because of – whoever studies British artists’ its focus on America, this relative- film and video. Includes a compre- ce ly early volume on the subject has TYLER, Parker hensive database of films and a lot of information about avant- Underground film: a critical artists (with over 5,000 titles and a garde film in one geographical history detailed search system), several locus, and it therefore includes a New York: Da Capo Press, 1995 (new bibliographies, an online exhibi- Sour good overview of (early) Warhol edition), 265p. illus. filmog. index tion about British avant-garde film

+ and of Brakhage and Kenneth graphics (1966-85), several research Anger. The American critic Parker Tyler papers and the online video library was enormously respected by the catalogue listing over 2,000 titles 16 SITNEY, P. Adams (ed) underground and experimental available on video and DVD for The avant-garde film: a reader of filmmakers of his time. The first viewing. theory and criticism. book of its kind, this classic study New York: New York University Press, of underground film treats the http://ukvideoart.tripod.com/ 1978, 295p. illus American Underground film move- ment of the 1960s as much as an Online chronology of first two This comprehensive anthology ideology and a social practice as a decades of British video art. offers, in Sitney’s own words, “an corpus of work. It evaluates the Shame about the pop-ups! extensive survey of the theoretical movement in general, as well as contributions of avant-garde film- the seminal films in particular. makers and essays about their cin- Most of the material is derived ematic experience”, beginning from the author’s articles in Film with the pioneers of the 1920s and Culture. ending with avant-garde filmmak- ers of the 1960-70s. It reproduces a great variety of materials, from manifestoes to letter, programme websites notes, interviews or lectures. More than 28 years after its publication, http://www.lfmc.org/ this is still an indispensable text for students of avant-garde film This very useful website, dedicated and its history. to the first decade of the London Filmmakers Co-op and British avant-garde film (1966-76), SITNEY, P. Adams includes a filmmakers’ index, a Visionary film: the American detailed chronology, and an essen- avant-garde 1943-2000. tial illustrated essay by A.L Rees Oxford; New York, NY: Oxford entitled “Locating the LFMC: The University Press, 2002, 3rd edition, First Decade in Context”. 462p., illus., index. http://www.lux.org.uk/ The first, 1974 edition of this book was already considered by many a Along with providing information standard text on American avant- about current Lux projects and garde film. For this third edition, events, this website is particularly Sitney has once again revised and useful for its impressive number of updated this classic work, and has links to a wide range of resources

BFI National Library 3 derek jarman 1942-1994 WOLLEN, Roger et al. Film books Derek Jarman: A Portrait. JARMAN, Derek London: Thames and Hudson, 1996. Chroma: a book of colour. 175p. illus. (many col.) chronol. London: Century, 1994. 151p. Index.

An evocative meditation on the Published to coincide with the colour spectrum which includes 1996 exhibition ‘Derek Jarman: A personal reminiscences and refer- Portrait’ at the Barbican Art Gallery ences to art history and theory. It in London. The book has eight was published shortly after the contributors including Michael first screening of Derek Jarman’s O’Pray who writes on ‘Art of

Experimental film BLUE. Films/Films of Art’ and Yolanda Sonnabend on ‘Designing the Tempest’. LIPPARD, Chris, Editor By angels driven: the films of Derek Jarman. Trowbridge, Wiltshire: Flicks Books, pamphlets Guides: At that time of Derek Jarman’s Cinema voices series,1996. 202p. [8] death on 19 February 1994, Ben plates. filmog. bibliog. index. CORRIN, Lisa G. and SPICER,

ce Gibson, then Head Of Production Joeneath at the BFI, was reported in The A collection of seven essays which Going for Baroque: 18 contempo- Guardian as saying: “Derek was discuss all of the major films rary artists fascinated with the simply the most important innovator, directed by Derek Jarman. Of par- Baroque and Rococo. The artist as

Sour most generous teacher and most ticular interest is an essay by social outsider. courageous artist of a generation of Joseph A. Gomez: ‘The process of Baltimore, Maryland: The + British filmmakers.” Jarman’s WAR REQUIEM: personal Contemporary and the Walters Art vision and the tradition of fusion Gallery, 1995, p.21

16 As a director Derek Jarman’s work of the arts,’ which discusses the ranged from his Super-8 “home balance between Wilfrid Owen’s This essay gives an interesting movies” to the full-scale feature poetry, Benjamin Britten’s music insight into Derek Jarman’s adop- CARAVAGGIO which was partly and Derek Jarman’s use of images. tion of Caravaggio’s work to form funded by the BFI Production still interludes in his eponymous Board. However during his later film. There is a useful discussion years he became equally well- O’PRAY, Michael of how the process of painting known for his work as a gay Derek Jarman: Dreams of England. relates to that of filmmaking. activist and for his candour in dis- London: BFI Publishing,1996. 232p. cussing his battle with AIDS-relat- illus. (some col.) bibliog. filmog. ed illnesses. He also found a new index. HORRIGAN, William audience for his writings on his Of angels and apocalypse: the cin- creation of a unique garden at his Michael O’Pray, who knew Derek ema of Derek Jarman. home in Dungeness. Jarman for many years, discusses Walker Arts Center, Minneapolis, his work and gives an account of 1986. The following is a selection from his life. Although not strictly a some of the many books, journal biography he offers interesting Written to accompany a touring articles and newspaper cuttings on insights into the relationship exhibition of Derek Jarman’s work Derek Jarman held by the BFI between Jarman’s family history in 1987 this catalogue gives an National Library which has been and his filmmaking. account of his filmmaking up to chosen to give a flavour of his and including Caravaggio. In his work as an artist and filmmaker. introduction William Horrrigan PEAKE, Tony gives an illuminating account of In 1984 he donated some of his Derek Jarman: a biography. the techniques deployed by papers to the Special Collections London: Little, Brown and Company Jarman in working in Super-8 and (UK), 1999. 613p. [24] col. & b&w of the BFI National Library includ- video formats. plates. filmog. bibliog. index ing treatments, costume designs and stills from SEBASTIANE, A detailed and comprehensive JUBILEE and THE TEMPEST. These biography which begins and ends journal articles may be viewed with an account of Derek Jarman’s upon application. funeral giving a moving and vivid AMERICAN FILM picture of his life and friendships. Vol.11. No.10. September 1986, pp.44-47, 59-61

Unnatural Lighting, by Tony Rayns

Derek Jarman’s work on CARAVAG-

BFI National Library 4 GIO is put in context with a brief SIGHT AND SOUND history of his earlier work. Tony Vol. 14. No. 3, March 2004, p. 76 press articles Rayns describes him as more of a metteur en scène than an auteur When the party’s over, Tilda Held on microfiche at The BFI Film because of his concentration on Swinton talking to Geoffrey National Library. framing, lighting and performance. MacNab THE LISTENER Tilda Swinton recalling the process 16 August 1990 pp.7-10 AURA of working on THE LAST OF ENG- Vol .6. No.3. 2000, pp.18-32 LAND with Derek Jarman suggests Positive Thinking, Derek Jarman that he was the latest in a long talks to psychiatrist Dr. Anthony The Rise and Fall of British Art line of avant-garde artists who Clare. Cinema: A Short History of the worked with film. Broadcast on 15 August 1990. 1980s and 1990s, by John Hill Derek Jarman recalls his childhood An interesting account of British STILLS influences and how they con- Experimental Art Cinema which discusses Derek No.26. April 1986, p. 11 tributed towards his work as a Jarman’s work alongside that of painter and filmmaker. other ‘art’ filmmakers of the 1980s Renaissance Man, by Martin and 1990s. It explains the institu- Sutton tional infrastructure upon which WHAT’S ON British Art Cinema depended. Derek Jarman talks about JUBILEE 24 April 1986 p.49 CARAVAGGIO Guides: and . He reveals that as a painter he has always had a Love and paint and the whole CINEASTE special fondness for silent cinema damn’ thing, by Phillip Bergson ce Vol.18. No 4. Dec 1991, pp.24-27 and suggests that CARAVAGGIO is as much about the tableau as Derek Jarman relates some of his History and the Gay Viewfinder: Dreyer’s JEANNE D’ARC. detailed preparations for filming An interview with Derek Jarman, CARAVAGGIO. He describes how he Sour by Roy Grundmann placed on Caravaggio’s work-table

+ VERTIGO the pots in which he used to mix A very wide-ranging interview in Vol.2. No.4. Spring 2003 p. [i] his own colours at the age of 18. which Derek Jarman discusses his 16 major films up to 1991. He touches In the spirit of Derek Jarman, by on the relationship between fund- Tilda Swinton SUNDAY TIMES ing and the generally lyrical seg- 20 April 1986 p.45 mented form of his films. An extract from an address given by actor Tilda Swinton at the 2002 Verging on the respectable, Derek FILM DIRECTIONS Edinburgh International Film Jarman talks to Mick Brown Vol.2. No.8. 1979, pp. 14-15 Festival. She reminisces about her collaboration with Derek Jarman A discussion of Derek Jarman’s Interview with Derek Jarman and gives a vivid impression of work mainly centred on CARAVAG- what it was like to work with him. GIO and its troubled pre-produc- Derek Jarman discusses THE TEM- tion history. The article also touch- PEST, SEBASTIANE and JUBILEE and es on the reaction of Mrs. Mary talks about his then forthcoming VERTIGO Whitehouse to SEBASTIANE. “Caravaggio project”. Vol.1. No.3. Spring 1994 p.63

Derek Jarman, by Sally Potter SUNDAY TIMES MONTHLY FILM BULLETIN 17 January 1988 p.9 Vol.51. No 605. June 1984, pp. 189-90 A personal tribute from fellow filmmaker Sally Potter written Freedom fighter for a vision of the Super-8, video and home movies: shortly after Derek Jarman’s truth, by Derek Jarman Derek Jarman discusses ‘real’ death which gives an insight into film-making, with Michael O’Pray his working practice. A reply to the reported criticism of British films by Oxford historian Derek Jarman talks about his fasci- Norman Stone. Derek Jarman gives nation with home movies and his an interesting account of his work Super-8 work. He describes how claiming that his cinema has “tra- the influences on his Super-8s dition and history”. were probably far more literary than filmic; he would write poetry and try to bring that to life.

Caravaggio (1986)

BFI National Library 5 chris marker

Film the context of the development of the essay, such as his first widely books acclaimed film LETTRE DE SIBÉRIE DUBOIS, Philippe (1957), should not be overlooked. Théorème: Recherches Sur Chris Marker. Marker was also instrumental in Presses Sorbonne Nouvelle 2002. the development of collective- 193p, illus., filmog. filmmaking during the 1960s. He formed the film co-operative SLON This edition of Théorème assem- (Société pour le Lancement des bles a selection Marker’s work Oeuvres Nouvelles) originally to completed over many years and make the film FAR FROM VIETNAM collated by l’UFR Cinéma et Experimental (1967) The film featured segments Audiovisuel de l’Université Paris. by numerous filmmakers gathered This book is written in French. together by Marker such as, Alain Renais, Claude Lelouch, William Klein, Agnes Varda and Jean Luc GAUTHIER, Guy Godard. The SLON co-operative Chris Marker: Écrivain Multimédia went on to make 3 more films of Au Voyage À Travers Les Médias. Guides: “Memory leaves behind other memo- note including LA SIXIÈME FACE DU L’Harmatten, Paris. 2001. 222p. ries. We swim in an ocean of false PENTAGONE (1968) about the peace ce memory, sustained by electronic march on Washington, THE BATTLE This book looks at Marker’s explo- media”. OF THE 10,000,000 (1970) about a rations into new innovations in - Chris Marker. break down in the Cuban sugar the moving image. The book is crops and THE TRAIN ROLE ON written in French and is accompa- Sour Much of the information regarding (1971). nied by a CD ROM.

+ the life and work of Chris Marker, photographer, filmmaker, novelist, Marker’s best-known work to date essayist, journalist, multimedia is the science fiction classic, LA KEAR, Jon 16 and installation artist, designer JETÉE (1962). The film, (a 29 minute Sans Soleil /Sunless. Flicks Books, 1999. 59p., bibliog.. and world traveller, is sparse and short) is a kind of meditation on contradictory. Marker is most well time-travel, image and memory SANS SOLEIL or SUNLESS (1982) is known as a politically committed, made up almost entirely of black essentially a travelogue or visual left-wing documentary filmmaker and white still photographs. LA essay in which an unnamed film- and traveller, observing and JETÉE was pressed further into the maker recounts in a series of let- recording his impressions of peo- public consciousness when Terry ters his experience of returning to ple and places. However, Marker, Gilliam adapted it for his film Japan. Moreover, the film provides born Christian François Bouche- TWELVE MONKEYS (1995). SANS a subtle and powerful commentary Villeneuve in 1921 is also notori- SOLEIL/SUNLESS (1982) is Marker’s on modern consumerist society ously elusive and seldom gives for- other most popular film, a trave- and the plight of non-Western mal interviews and is rarely pho- logue of visual images in which an “developing” nations. The book, of tographed. unidentified woman recounts in a series of letters the experiences of the same name by Jon Kear, looks at how Marker’s distinctive use of Marker was part of what was a fictional cameraman named intertextuality is finely woven into called the “Left-Bank” faction of Sandor Krasna. Moreover, the film his examination of memory, sub- the New Wave, filmmakers who provides a subtle and powerful jectivity and the changing rela- came from more literary back- commentary on modern con- tionship between past and pres- grounds and were more overtly sumerist society and the plight of ent. The chapters ‘Image and political in their aims than the non-Western “developing” nations. Sound’ and ‘Time, Place and “Right Bank”, who were more com- Memory’ are essential readings for monly associated with Cahiers du Whether using photography or gaining a clearer understanding of Cinema. Marker has often been film, books or essays, multimedia the film and Marker’s methods of credited with conceiving the cine- installations or travelogues, filmmaking. matic essay form, with which film- Marker’s work is constructed as makers such as Jean-Luc Godard, multiple layered, contradictory Orson Welles, Federico Fellini, Pier texts that juxtapose image and MARKER, Chris Paolo Pasolini, Chantal Akerman, words, language and music, reality LA JETÈE: Ciné-Roman. Wim Wenders, Abbas Kiarostami, and fiction, time and space along Zone Books, New York, NY 1992. Nanni Moretti, and Agnès Varda an abstract line of past/future unpaged., illus. have had varying levels of success. memory. Although the model for the cine- This is the illustrated book version matic essay has its precedents in of the legendary 1964 science-fic- the early work by Luis Buñuel and tion short film of the same name. Alain Resnais (with whom Marker Like the film, LA JETÉE the book, frequently collaborated) among consists entirely of black and others, Marker’s position within

BFI National Library 6 white photographs and depicts the This chapter looks closely at FILM COMMENT world in the aftermath of World Marker’s work as a photographer, Vol.39. No.4. July/Aug 2003 pp.32-50 War III were both the earth’s sur- exploring his many influences and face and history lies irretrievably styles, which like his films are a Kino Eye: The Legacy of Soviet

Film buried in a heap of radioactive complex mixture of documentary, Cinema as Refracted Through devastation. The war’s few remain- diary, essay memoir and fiction. Chris Marker’s Always-Critical ing survivors live underground Vision,by Paul Arthur. desperately seeking an alternative path to survival – one that perhaps HOWE, Susan This is an interesting ‘article’ writ- passes through Time. A man is “Sorting Facts; or, Nineteen Ways ten as a letter to Chris Marker con- chosen for his unique quality of of Looking at Marker” cerning his affinity towards Soviet having retained a single clear in BEYOND DOCUMENTS: ESSAYS film. image from pre-war days and ele- ON NONFICTION FILM By WAR- ments from this image become the REN. C (Ed.) hinge-points in the ensuing narra- Wesleyan University Press, 1996. FILM CRITICISM tive. 366p., illus., bibliog.. Vol.24. No.3. Spring 2000 pp.1-22 Experimental

The book features all the still pho- This chapter, as the title suggests, The History of the Future in Paris: tographs, taken by Marker, and the explores nineteen ways of looking Chris Marker and Jean Luc Godard dialogue from the film in French at the work of Chris Marker. The in the 1960s, by Lee Hilliker and English. chapter covers many of his films from LA JETÉE (1962) to SANS SOLEIL This is an excellent article that (1982) and CUBA SI (1961) whilst explores the rarely mentioned Guides: POURVALI, Bamchade highlighting the similarities connection between the French Chris Marker. between Marker’s work and that of New Wave and futuristic fiction. ce Cahiers du Cinéma. 2003. 95p., illus. the Russian director Andrei Hilliker looks at Marker’s medita- Tarkovsky who often mixed docu- tion on time-travel, image and This book presents a very informa- mentary footage with fiction. memory, LA JETÉE (1962) and Jean tive introduction into the life and Luc Godard’s sci-fi/noir hybrid Sour work of Chris Marker. This edition ALPHAVILLE (1965).

+ is written in French. NAFICY, Hamid “Epistolarity and Epistolary Narratives: Letter Films: Chris FILM QUARTERLY 16 ROTH, Laurant/ BELLOUR, Marker” in An Accented Narrative: Vol.32. No.3. Spring 1979 pp.38-46 Raymond Exilic And Diasporic Filmmaking A Propos Du Cd-Rom: Immemory Princeton University Press, New Chris Marker: The SLON Films, by De Chris Marker. Jersey. 2001. 374p. illus., appendices, William F. Van Wert Centre Georges Pompidou, 1997. bibliog.. 157p., illus., filmog. This essay looks at the influence This extensive chapter looks at the Chris Marker had on collective- This book accompanies the publi- emergence of the “letter film”. The filmmaking during the 1960s. cation of the CD-ROM IMMEMORY, ‘letter film’ works in contrast to Marker formed the film co-opera- offering a few tools for the specta- the classically omnipresent narrat- tive SLON (Société pour le tor-navigator. ed film and narrative system. Lancement des Oeuvres Nouvelles) Instead, a stream-of-conscious- originally to make the film FAR ness technique is applied. A free, FROM VIETNAM (1967) The film fea- direct style that works in conjunc- tured segments by numerous film- essays/documents tion with images edited without makers gathered together by regard for the demands of a coher- Marker such as, Alain Renais, HORAK, Jan-Christopher ent plot, character psychology or Claude Lelouch, William Klein, ‘Chris Marker: Photographic genre convention. This chapter Agnes Varda and Jean Luc Godard. Journeys’ in Making Images Move: goes on to look at two of Marker’s Photographers And Avant-Garde films that employ this technique, The SLON co-operative went on to Cinema. LETTRE DE SIBÉRIE (1957) and SANS make 3 more films of note includ- Smithsonian Institution. 1997. 296p., SOLEIL (1983). ing LA SIXIÈME FACE DU PEN- bibliog. Filmog. TAGONE (1968) about the peace march on Washington, THE BATTLE As well as his work as a journalist, OF THE 10,000,000 (1970) about a novelist, essayist and filmmaker, journal articles break down in the Cuban sugar Marker was also a published pho- crops and THE TRAIN ROLLS ON tographer. Although never pub- FILM COMMENT (1971). The article goes on to look lished in English and his early Vol.39. No.3. May/June 2003 pp.33-34 at these films in detail. books being out of print in Europe, Marker has published at least six Marker Direct, by Samuel Douhaire photography books. Marker’s con- and Annick Rivoire tinuous fascination with still pho- tography is epitomized in films A rare interview with the illusive like, LA JETÉE (1962) and SI J’AVAIS and secretive director originally QUATRE DROMADAIRES (1966), published in ‘Liberation’ in March which consist entirely of photographs. 2003.

BFI National Library 7 the films inner symmetry, includ- ing Marker’s homage to Hitchcock’s Vertigo and the films suggestion about the spiral of time.

MILLENNIUM FILM JOURNAL No.29. Autumn 1996

Primitive Projections: Chris Marker’s Silent Movie, by Joe McElhaney

An interesting article that looks at Marker’s second video installation SILENT MOVIE (1995) following the monumental ZAPPING ZONES (1990) five years earlier.

La Jetée (1962) MONTHLY FILM BULLETIN Vol.51. No.606. July 1984 pp.196-197 FILMWAVES THE LISTENER No.12. Summer 2000 pp.36-37 Vol.112. No.2875.13 Sept 1984 p.33 This is an excellent reading of Marker’s classic ‘travel letter’ SANS Chris Marker, by Darren Meeting With the Other, by SOLEIL (1982). The article makes Chesworth Richard Combs reference to all the key elements within the film such as, the rela- This is a brief and engaging article Short article discussing the up- tion between images in space and exploring the life and work of coming screening of SANS SOLEIL time, the investigation into memo- Marker, which after nearly half a (1982) on Channel 4 less than two ry and it relation with the image century, argues Cheswoth, still months after the films theatrical and the rituals and practices that 16 + Source Guides: Experimental Film encourages and draws the specta- release. summon up the past in the pres- tor in to look again a second or ent. third time. LITERATURE FILM QUARTERLY The article is accompanied by a Vol.32. No.3. 1979 pp.38-46 rare interview/discussion between FILMWEST Marker and a computer. No.37. July 1999 pp.20-22 Marker and Renais: Myth and Reality, by Silvio Gaggi Chris Marker: Marking Time, by REALTIME Gerry McCarthy This article explores the relation- No.27.October-November 1998 p.18 ship between Marker and Alain This article looks at the life and Renais. Frequent collaborators, Technologies of Memory, by work of Marker and the influences their films resonate with each Adrian Miles that have marked his career. other even when Marker and McCarthy pays particular attention Renais are working separately. This short article argues, that con- to Marker’s interest in science fic- Both filmmakers are not only con- trary to many critics who believe tion, for example the use of time- cerned with the nature of time Marker adopts and adapts tech- travel in LA JETÉE (1962) and com- and memory but also they are fas- nologies to translate his particular puter technology, communicatons cinated by the photographic image essayist style of filmmaking, and video games in the film LEVEL as a “record of a moment of reali- Marker has been “adopted and FIVE (1997) ty”. This article looks closely at adapted by the 20th Century’s Marker’s, LA JETÉE (1962) and principle technologies of record”. RENAIS’ NUIT ET BROUILLAR (1955). THE INDEPENDENT REVIEW 18 May 1999 p.9 SCREEN MILLENNIUM FILM JOURNAL Vol.44. No.1. Spring 2003 pp.58-70 Who is Chris Marker? by Kevin No.14-15 Autumn/Winter 1984/85 Jackson pp.173-177 Terminal Replay: Renais Revisited in Marker’s Level Five, by This article asks the question, In The Spiral of Time, by Yvette Catherine Lupton “Who is Chris Marker?” and Biro attempts to answer this by way of This is another article examining listing 13 things the author knows This article looks closely at the influence of Alain Renais on about Marker. Marker’s SANS SOLEIL (1982) and Chris Marker’s work, paying partic- the films contemplations about ular attention to Marker’s 1997 time and memory. Biro outlines film LEVEL FIVE. the four movements that reveal

BFI National Library 8 SIGHT AND SOUND SIGHT AND SOUND Vol.53. No.4. Autumn 1984 pp.284-288 Vol.4. No.7. July 1994 p13 websites

Marker Changes Trains, by Terence Insane Memory, by Chris Petit http://www.sensesofcinema.com/c Film Rafferty ontents/directors/02/marker.html This one-page article discuses This is an excellent article on Markers use of memory, one of the This is an informative essay on SANS SOLEIL (1982) that pays par- themes most prevalent in his Chris Marker’s life and work. Also ticular attention to Marker’s edit- films, and how it is used in films features a bibliography and some ing technique and shot selection like, LA JETÉE (1962) and THE LAST useful links. and, agues Rafferty, are the quali- BOLSHEVIK (1992), as the bridge ties that distances Marker’s work between Marker’s other two http://www.cyberbohemia.com/o.w.l./ beyond even his own influences, favored themes, time and space. such as Vertov and Eisenstein. Small but useful site that summa- rizes some of the many facets of This article also discusses the sim- VERTIGO Marker’s work. Experimental ilarities in theme of LA JETÉE Vol.2. No.7. Autumn/Winter 2004 (1962) and LE JOLI MAI (1962). Both pp.6-7 http://www.iua.upf.es/formats/for films were shot in the same year mats2/luc_a.htm and Rafferty makes reference to A Chris Marker Compendium, by each films attempt to, “achieve Catherine Lupton Chris Marker: The Political perspective on the moment of Composition of the Image. This is a short concise article Guides: transition between traumatic past Introduction to the first image of and an unforeseeable future” introducing some of the key SANS SOLEIL (1983) by Gonzalo de (Rafferty) themes and ideas in Marker’s Lucas ce films. The article looks at six spe- cific themes that have both influ- SIGHT AND SOUND enced his films and Marker’s poli- Vol.42. No.2 Spring 1973 pp.82-83 tics. Sour

+ SLON, by Richard Roud VERTIGO Another article looking at the work No.7. Autumn 1997 pp.35-38 16 accomplished by Marker’s film- makers co-operative SLON. SLON The Mind’s Eye: Chris Marker’s thought of themselves “not as an Level Five, by Allan Francovich enterprise but as a tool – a tool to make films which, as they claim, This article examines Marker’s “ought not to exist” (Roud) film LEVEL FIVE (1997) and includes a rare interview with the director by Delores Walfisch

Sans Soleil (1983)

BFI National Library 9 margaret tait

Film 1918-1999. Reynolds, and Ali Smith, together POEM FILM FILM POEM with a selection of poems, publici- No. 6. 2000, pp.1-12. Little has been written about the ty sheets, and interviews with Tait Orcadian film maker and poet herself edited by David Curtis. Margaret Tait Film Maker 1918- Margaret Tait. In August 2004 a 1999: Indications Influence major retrospective of her films Outcomes complied, by Alex Pirie was held at the Edinburgh WINN, Joss, International Film Festival fol- Preserving The Hand-Painted A selection of various quotes, writ- lowed in November by a touring Films of Margaret Tait. ings, and poems from a number of programme of her work and M A dissertation, University of East sources, selected by Alex Pirie who accompanying book from LUX. She Anglia, Norwich, 2002, unpublished was Margaret Tait’s husband. produced over 30 mainly self- Experimental made and financed films and also A study of the hand painted films published three books of poetry in particular CALYPSO with specif- SENSES OF CINEMA and two of short stories. ic consideration to the preserva- No 33, Oct-Dec 2004. tion and archiving of them. http://www.sensesofcinema.com/c ‘Margaret Tait described her life’s ontents/festivals/04/33/edinburgh2 work as consisting of making film- 004.html poems. She often quoted Lorca’s Guides: journal articles phrase of ‘stalking the image’ to Aspects of Change: The 58th define her philosophy and Edinburgh International Film ce method, the idea that if you look NATIONAL FILM THEATRE Festival George Clark at an object closely enough it will BOOKLET speak its nature. This clarity of October 2000, pp 34-35 A review of the 2004 Edinburgh vision and purpose with an atten-

Sour festival including several para- tion to simple commonplace sub- Margaret Tait, by Ben Cook and graphs at the end on the retro-

+ jects combined with a rare sense Peter Todd spective of Margaret Tait films. of inner rhythm and pattern give her films a transcendental quality, Details of the tribute screenings at 16 while still remaining firmly rooted the National Film Theatre. VERTIGO within the everyday. Margaret once Vol 2. No 7. Aut/Wint 2004, pp.53-55 said of her films, with characteris- tic modesty, that they are born of VERTIGO Remembering Margaret Tait (1918- ‘of sheer wonder and astonish- No.9. Summer 1999, pp 62-63 1999) A Deeper Knowledge Than ment at how much can be seen in Wisdom, compiled by Peter Todd any place that you choose...if you Britain’s Oldest really look’.’ Experimentalist...Margaret Tait, by A version of the LUXONLINE essay LUX. David Curtis by Peter Todd, together with short contributions from other film The following is a selection of Tribute following her death writ- makers Ute Aurand (reprinted in books, journal articles and news- ten by David Curtis, formerly Subjects and Sequences A paper cuttings on Margaret Tait Senior Visual Arts Officer at the Margaret Tait reader), Annabel held by the BFI National Library. Arts Council of England. Nicolson, and Sarah Wood.

UNDERCUT books No.7/8. Spring 1983, pp.17-19 press articles

LEGGETT, Mike On the Mountain and Land Makar: INDEPENDENT Margaret Tait in A Directory of Landscape and Townscape in 12 May 1999, p.6 British Film & Video Artists, edited Margaret Tait’s Work, by Tamara by Curtis, David Krikorian Margaret Tait, by Murray Grigor (Luton: John Libby Media/London: Arts Council of England, 1996), pp Analysis and description of two of Obituary by film maker Murray 190-192. Tait’s longer films, ON THE MOUN- Grigor who as director of the TAIN which captures the changes Edinburgh International Film Overview of her career and work. in Rose Street Edinburgh where for Festival organised the 1970 many years Tait had her base, and Margaret Tait retrospective. TODD, Peter and COOK, Ben, LAND MAKAR a study of study of Editors an Orkney croft (next to where Tait Subjects and Sequences A herself was living at the time), and Margaret Tait Reader. the woman who runs it, Mary London, LUX, 2004. 178p. Graham Sinclair.

First book on Tait including pieces by Ute Aurand, Gareth Evans, Lucy

BFI National Library 10 GUARDIAN GUARDIAN Poetry Library 31 March 1993, pp.8-9 13 May 1999, p.22 www.poetrylibrary.org.uk First Person Highly Singular, by Margaret Tait, by Elizabeth Sussex

Film Jan Moir The library holds reference copies Obituary. of Margaret Tait’s three books of Interview and overview of her poems. career at the time of making her feature length work, Blue Black TIMES Permanent. 28 May 1999, p.31 Scottish Screen Archive

Margaret Tait www.scottishscreen.com DAILY TELEGRAPH 23 August 2004, p.17 Obituary. The major collection of her films and film materials and her short Unique Vision of a Film Poet, by hand painted film Calypso online. Experimental Sukdev Sandhu websites Prevew of the 2004 Edinburgh AHRB artists’ Film and Video International Film Festival retro- LUX Study Collection spective of Tait’s work. www.lux.org.uk/margarettait www.studycollection.org.uk Guides: FINANCIAL TIMES The distributor of Margaret Tait Based at Central St. Martins, 9 September 1970 films including the touring pro- University of the Arts, London the ce gramme Subjects and Sequences. collection holds interviews and Margaret Tait, film-maker, by The LUXONLINE section of the other paper based materials. Elizabeth Sussex website includes pieces on Margaret Tait by Ali Smith and Sour Review of the retrospective at the Peter Todd.

+ 1970 Edinburgh International Film Festival. 16

Margaret Tait

BFI National Library 11 anger, brakhage & warhol

Film The following books, articles and JAMES, David E. introduction cuttings offer a mix of biographical Allegories of cinema: American information, filmographic detail, film in the sixties. Kenneth Anger, Stan Brakhage and and analysis. The ideas and Princeton University Press, 1989. Andy Warhol may have been mar- thoughts, which they contain, 388p. illus. bibliog. filmog. index. ginalized as “experimental” or indicate that the works of these “avant-garde” filmmakers, but filmmakers can be explored on An excellent history of American much of what we see onscreen many, many different levels. experimental film in the 1960’s. today can be traced back to them. With chapters on Stan Brakhage Their influence permeates main- As there is a certain amount of and Andy Warhol and mention of stream cinema and music videos, overlap in the discussions of the Kenneth Anger, this book is a good

Experimental Heat magazine and even high American Avant-garde film and source of contextual information street fashion. some of the filmmakers were con- and theory. nected either through film soci- Studying any of these filmmakers eties such as Cinema 16 or the entails entering unique worlds Filmmakers Co-operative, or just MACDONALD, Scott inhabited by family, friends, stars, through ideas, this section covers Cinema 16: documents toward a magick and mythology. It involves books that are about two or all of history of the film society.

Guides: seeing and hearing the seemingly the above filmmakers. Temple University Press, 2002. xiii, familiar, but feeling a frisson at its 468 p.; illus. index.

ce originality. Cinema 16 ran from 1957 –1963 Although strikingly different, the books and was one of the most impor- works of all three men pushed DIXON, Wheeler Winston and FOS- tant of America’s film societies. It

Sour artistic boundaries that were both TER, Gwendolyn Audrey exhibited films that wouldn’t nor- technical and cultural. For exam- Experimental cinema, the film mally have been screened any- + ple, a young man’s fantasies, reader. where else and showcased many played out in FIREWORKS; a young Routledge, 2002. ix, 356 p.; illus. films by experimental filmmakers.

16 couple making love in ANTICIPA- notes. bibliog. index. This collection of documents and TION OF THE NIGHT; the freakshow letters between Amos Vogel (the exuberance of TRASH. All reveal An important reference work for founder of Cinema 16) and film- the underground’s ability to offer anyone studying American experi- makers such as Kenneth Anger reflections of sexuality, hitherto mental cinema. Tracing the histo- and Stan Brakhage. These letters hidden away. And on another ry of avant-garde filmmaking from offer an interesting glimpse into level, Kenneth Anger’s use of pop- the 1920’s to more recent filmmak- the day-to-day realities of being a ular music in SCORPIO RISING may ers, this collection of essays focus- filmmaker outside of the main- be perceived as a precursor to the es primarily on the filmmakers stream. music videos taken for granted themselves in order to examine today. the wider aspects and styles of experimental cinema. Anger, SUAREZ, Juan Antonio Anger and Warhol took the refer- Brakhage and Warhol are featured, Bike boys, drag queens, and encing, exploration and exploita- with chapters devoted to each of superstars: avant-garde, mass cul- tion of Hollywood to new heights them. ture and gay identities in the of sadistic fascination, fuelling and 1960s underground cinema. defining an obsession, which has Indiana University Press,1996. viii- emerged as our common currency. DURGNAT, Raymond xxviii. 353p. illus. filmog. bibliog. All three filmmakers presented Sexual alienation in the cinema. index. stars as both fabulous and tar- Studio Vista, [1974]. 320p. illus. nished; the misery behind the With chapters on both Kenneth glamour; forming an unpleasant Written in 1974 and appraising the Anger and Andy Warhol, Suarez Eden where everyone can dream changing sexual dynamics of positions the work of both Anger of becoming a star if we wanted many national cinemas and and Warhol within a queer theo- to… And Brakhage’s technical underground filmmakers such as retical context. Anger’s SCORPIO innovations, with light and the Kenneth Anger and Andy Warhol. RISING is comprehensively film material itself in DOG STAR In the chapter titled ‘Private Worlds’ explored and there is a useful cri- MAN and MOTHLIGHT were utterly he examines the sexual symbol- tique of his earlier works. The dis- groundbreaking, furthering the ism in Anger’s films, whilst cussion of Andy Warhol’s work idea of film as a visual language; describing the sexuality in focuses less on the actual films as art. Brakhage’s vibrant repre- Warhol’s films as “derisory real- but rather on how they are part of sentation of his family in his films ism” and “how a clutch of New Warhol’s commodifcation of art; as a counterpoint to the modern York freaks behave in front of a art as business, and that Warhol’s garish equivalent of reality TV pro- camera”. An interesting history of avant-gardism sprang as much grammes. the subject and the part played by from entrepreneurial as artistic tendencies. both filmmakers in pushing the boundaries of what can be seen on screen.

BFI National Library 12 TINKCOM, Matthew Working like a homosexual: camp, capital, cinema. kenneth anger Duke University Press, 2002. x, 226 p.; GEDULD, Harry M Film illus. bibliog. index. Film makers on filmmaking: state- ments on their art by thirty direc- An examination of how post- tors. World War II “gay male subcul- Indiana University Press, 1967. 302p. tures” have not only consumed mass culture but produced it as A collection of interviews and well. Focusing particularly on essays with the cinema’s foremost film, Tinkcom examines the ten- director’s of the day. Kenneth sions between high and low art Anger is interviewed primarily and between good and bad taste. about SCORPIO RISING and KUSTOM Both Warhol and Anger’s films are KAR KOMMANDOS. While there are explored within the queer/camp

Experimental the usual questions about ‘Magick’ framework but Tinkocm then adds Anger’s opinions on the changing ideas about economics, noting that pop culture of the time makes for ‘camp’ can be seen as a form of interesting reading. “queer industrial labour” to be both produced and consumed. There are many interesting ideas books HALLER, Robert A

Guides: here, but the theorising can limit ANGER, Kenneth Kenneth Anger. understanding sometimes. Hollywood Babylon. Walker Art Center, 1980. 23p. illus. bibliog. filmog. ce Straight Arrow Books, 1975. 305p. illus. index. WEES, William C. Though brief, this provides an Light moving in time: studies in On the surface this can be seen as excellent introduction to the the visual aesthetics of avant- Sour a very entertaining, very gossipy works of Kenneth Anger. Includes garde film. book, with the creepier side of an interview with Anger and an

+ University of California, 1992. 199p. Hollywood history laid bare (liter- essay on RABBITS’ MOON. illus. bibliog. index. ally in some cases). However, it is

16 also can be read as part of Looking at the visual aesthetics of Kenneth anger’s ongoing fascina- HUNTER, Jack a number of Avant-garde filmmak- tion and antipathy towards Moonchild: the films of Kenneth ers, Wees asserts that while they Hollywood and the projected Anger: persistence of vision vol- may have different subjects and glamour of the stars and the ume 1. styles of filmmaking, what unites sometimes grim reality and Creation Books, 2002. - 128 p.; illus. them is that they have taken hypocrisy behind it all. filmog. bibliog. advantage of “the avant-garde spirit of experimentation” and that Describing itself as the “definitive they can be viewed as “visual ANGER, Kenneth study of one of cinema’s most artists” devoted to exploring what Hollywood Babylon II. charismatic yet elusive innova- the “eye” sees. The chapter on Straight Arrow Books, 1986. 324p. tors”, this volume does indeed Stan Brakhage ‘Giving sight to the illus. index attempt to delve into the major medium: Stan Brakhage’ examines influences of Anger’s life and work how Brakhage plays with our visu- More of the same, with even more i.e. the occult, popular culture and al senses almost taking us back to revelations. the films as Magick. A highly a naïve or childlike way of seeing. detailed but very readable book, In contrast the chapter on that is essential for anyone study- Kenneth Anger ‘Working in the light: DWYER, Simon ing not only Anger, but also exper- Kenneth Anger’ explores how Anger Rapid Eye 3. imental cinema in general. uses light in his films. Creation Books, 1995. - 25Op. illus. appendix. HUTCHISON, Alice L. In the chapter titled ‘Blue velvet: Kenneth Anger: a demonic vision- myth and symbolism in the work of ary. Kenneth Anger’ Carel Rowe begins Black Dog Publishing, 2004. 257p. by noting how the technical per- illus. filmog. bibliog. index. fectionism of Kenneth Anger enabled him to “perform cinematic An absolutely essential book for arabesques of delicacy and com- anyone studying Kenneth Anger. plexity” and push the symbolic Beautifully illustrated with draw- representations in his films. Rowe ings, stills and other photographic examines Anger’s films within a images. Place Anger’s work in the symbolist tradition and how the “social and artistic context of the notion of decadence is played out twentieth century” Hutchinson’s in contrast to depictions by Jack work is a significant study of the Smith and Andy Warhol. artist taking it right through to his most recent projects. Featuring

BFI National Library 13 commentaries from other writers including details of how the origi- MONTHLY FILM BULLETIN and filmmakers, this book comes nal footage was stolen by its star Vol.49.No.584. Sept 1982, pp.192-193 closer than most to doing justice (and Charles Manson acolyte) to Anger’s work. Bobby Beausoleil. Includes a fil- The elusive Lucifer, by Tony Rayns

Film mography at the end. Rayns’ attempts an overview of LANDIS, Bill Anger’s career from 1966 to date of Anger: the unauthorized biogra- WIDE ANGLE writing and “to cut through some phy of Kenneth Anger. Vol.18. No.4 October 1996, pp.74-92 of the confusion surrounding the HarperCollins, 1995. - 290p. [8] plates. different versions of LUCIFER RIS- index. An interview with Kenneth Anger, ING”. Interesting for the account by Kate Haug of anger’s life and career at this A hugely absorbing biography; the point and for the chaotic, incident- research is exhaustive and aims to An exhaustive interview with filled undertaking that seems to fill-in the gaps in Anger’s life and Anger that covers a range of top- have been LUCIFER RISING. films. This is an excellent source ics, from his views on documen- Experimental of information and manages to tary filmmaking to the background remain sympathetic to its subject. to the bikers filmed in SCORPIO CINE-TRACTS RISING. Though covering many of Vol.5 No.1. Sum/Aut 1982, pp.25-31 the same themes that crop-up PILLING, Jayne and O’PRAY, Mike continually in interviews or dis- Before “Lucifer”: preternatural Into the Pleasure Dome: the films cussions of Anger’s work, Haug’s light in the films of Kenneth

Guides: of Kenneth Anger. questions approach the subjects Anger, by Kenneth C. Wees British Film Institute,1989. 76p. illus. from a different angle, lending the bibliog. filmog. interview a certain depth. This essay is an examination into ce how light is used in Kenneth A series of essays that delve into Anger’s films. In the context of the myths, rumours, history and CITY LIMITS the article the term “preternatural hearsay surrounding Kenneth No.432. 11 January 1990, p.28 light” is a term taken from Aldous Sour Anger. As complete a study as you Huxley and means “the peculiar

+ could hope to read and with an Exposures: look back at Anger, luminosity of objects seen during exhaustive and annotated filmog- Rebekah Wood a visionary experience”. Wees raphy. makes the claim that despite 16 To coincide with a retrospective of Anger’s claims to be “an artist Kenneth Anger films being working in light…and that’s my POSNER, Bruce and JAMES, David screened at the National Film whole interest really. Lucifer is the E. Theatre, though a brief article, Light god”, that in reality there is a Unseen cinema: early American Wood discusses Anger’s life and preternatural light in his pre- avant-garde film 1893-1941. career with particular focus on the ‘Lucifer’ films. This is an interest- Black Thistle Press/Anthology Film influence SCORPIO RISING has had ing if lengthy article with ideas Archives, 2001. 160 p.; illus. on other filmmakers and the mak- that verge on the almost fantasti- ing of both INVOCATION OF MY cal, however it is probably only of Written to coincide with a touring DEMON BROTHER and LUCIFER RIS- interest to the serious Anger-phile. exhibition of previously ‘lost’ early ING. American Avant-garde films, Kenneth Anger’s essay is about the MILLENNIUM FILM JOURNAL silent film SALOME, starring and ON FILM No.10/11.Aut/Wint 1981/82, pp.123-39 produced by Alla Nazimova. An No.11. Summer 1983, pp.40-47 interesting account of the film, Rabbit’s Moon: the Pierrot figure in this again highlights Anger’s inter- Profile of Kenneth Anger, by Jack theatre, painting and film, by Lucy est in Hollywood history and lore. English Fisher

An at times seemingly fraught An analysis of RABBIT’S MOON a interview with Kenneth Anger film that Anger had re-shot and journal articles who seems to be at his most con- re-edited over a period of twenty frontational. Though almost ven- years. The subjects of the film are FILMS IN REVIEW omous in tone, Anger does have the traditional figures of Pierrot, Vol.48. No.1/2.Jan/Feb 1997, pp.16-25 interesting (if potentially libellous) Harlequin and Columbine and things to say about his life, influ- Fisher examines the symbolism of Look back with Kenneth Anger, by ences, career and other people. these characters and the other ele- Roy Frumkes However, Anger does give a word ments of the film with regard to of warning at the beginning con- mythology and film theory dis- An interesting interview with cerning all interviews he gives: course. A detailed discussion of Anger that focuses more on the “…what I say applies to the mood one of Anger’s more “straight-for- beginning of his career and in par- of my moment”. ward” films. ticular the twelve years he spent in Paris and working at the Cinematheque. There is also a long discussion of the tribulations of the making of LUCIFER RISING,

BFI National Library 14 TIME OUT that were being shown at the NFT. problems facing Anger if he tries No.572. 3 April 1981, p.27 This interview is neatly split into to film the life story Crowley, as he sections that mark the overriding would need permission from the Fire and brimstone, by Jack English themes in Anger’s career, that of rights holders to use any of

Film Hollywood and Magick and of the Aleister Crowley’s writings or that This is essentially an edited ver- influence on his films, art and life. of his biographer, John Symonds. sion of the interview between Jack As would be expected with Anger’s English and Kenneth Anger that more esoteric ideas the interview appears later in a longer format in can sometimes be a little hard to SUNDAY TIMES On Film (No.11. Summer 1983). follow, however, this is essentially 12 April 1970 a good overview of the man and his career up to that point. Also Light up a Lucifer, by Philip Oakes AMERICAN FILM worth reading for his less than Vol.6 No.5. March 1981, pp.16, 18, 78 flattering view of Andy Warhol and An account of the troubled making the difference between them. of LUCIFER RISING and the prob- Explorations: sympathy for the lems surrounding it. Also includes Experimental devil, by J. Hoberman a brief profile of Anger. AFTERIMAGE This article is a useful and inform- Vol.1 No.2. Autumn 1970, pp.22-28 ative account of the troubled his- FRIENDS 14 tory and a critique of LUCIFER RIS- The avant-garde film: Kenneth 18 September 1970, pp. 16-17 ING. Includes some other career Anger and George Landow, by P.

Guides: information as well and quotes Adams Sitney Aleister Crowley and merlin from Anger. magick. Written upon the release of INVO- ce CATION OF MY DEMON BROTHER, A thorough history of Kenneth AMERICAN FILM this brief article contains many Anger’s films up to the time of Vol.1. No.6. April 1976, pp.78-82 useful insights into Anger’s films, writing, with the emphasis defi- describing them as “rituals” and nitely on the ‘magickal’. Includes Sour The underground man: Kenneth assessing both INVOCATION… and information on film projects that

+ Anger’s magic quest, by Kenneth INAUGERATION OF THE PLEASURE were never completed. Turan DOME in detail. 16 An interview with Kenneth Anger SUNDAY TIMES and a discussion of his career and CINEMA (U.K.) 17 January 1971 influences. This well-written, No.9. October 1969, pp.23-31 informative article would give Pretty, sexy and satanic, by Molly most people a basic understanding Lucifer: a Kenneth Anger kom- Parkin of Anger. As with much that is pendium, by Tony Rayns written about Anger though, the Though primarily an interview focus is very much on Hollywood A detailed account of the struc- with costume designer, Laura and Aleister Crowley. tures, images and symbolism used Jameson on the set of LUCIFER RIS- in Anger’s films. Touches on influ- ING, this is a much more free- ences such as Eisenstein and wheeling piece, with Parkin seem- FILM QUARTERLY Aleister Crowley. The article ing to recall random bits of con- Vol.27. No.4. Summer 1974, pp.24-33 makes clear that Anger views his versation. Though not much is films as a manifestation of his actually said about the film, Illuminating Lucifer, by Carel Rowe magick rather than a watered- Parkin’s approach offers a glimpse down influence on the films. into the period and people. A useful survey of Kenneth Anger’s beliefs and the influence of these on his filmmaking. The usual press articles VILLAGE VOICE themes of light, Crowley, magick 17 February 1972 and music are examined in detail. For the confused, uninitiated or TIMES Movie journal, by Jonas Mekas those new to the films of Kenneth 11 July 1969 Anger, this article is a good start- A brief report by Mekas highlight- ing point in getting to grips with Crowley film. ing the legal problems that beset the complexities of the mytholo- Anger in the 1970’s following pub- gy/ideas surrounding him. A very brief feature about Kenneth lication of the American edition of Anger’s proposal to make a film Hollywood Babylon. It was noth- about Aleister Crowley. ing to do with libel and everything TIME OUT to do with none of the royalties No.91. 12 November 1971, pp.48-49 from the American editions of the TIMES book or subsequent film not going Dedication to create make believe, 12 July 1969 to Anger, due to a legal loophole by Tony Rayns and John DuCane that allowed Anger’s original book Bestial rights. (first published in France) to be An interview to coincide with a copied by an American publisher. season of Kenneth Anger’s films Article about potential copyright This gives Kenneth Anger’s side of

BFI National Library 15 the argument. RISING and INAUGERATION OF THE Anger gave at the NFT, O’Pray PLEASUREDOME. gives an overview of Anger’s film career and the influence he has VARIETY had on other filmmakers such as

Film 23 February 1972 GAY NEWS David Lynch and Martin Scorsese. No.116. 7-20 April 1977 A concise but informative piece of Ken Anger throws charges of pira- writing. cy against Marvin Miller re: Kenneth Anger, by Godfrey ‘Babylon’ Hamilton SCOTSMAN WEEKEND A report on the suit filed against Though most writing on Anger 27 January 1990, pp. III-IX the American publishers of does mention the homoerotic Hollywood Babylon, Marvin Miller qualities of both FIREWORKS and Anger and evil face up to Mickey by Kenneth Anger and the original SCORPIO RISING, this article defi- Mouse, by Lindsay Mackie French publishers Jean-Jacques nitely positions Anger as a gay Pauvert. filmmaker. Very entertaining and An interview focusing on the Experimental gossipy in tone. Anger’s (uncompleted) film about Mickey Mouse that was financed VILLAGE VOICE by J. Paul Getty. All the usual 17 May 1973 CINEMA TEXAS PROGRAM NOTES Anger subjects are mentioned too, Vol.14. No.2. 13 March 1978 such as Holly wood Babylon, Movie journal, by Jonas Mekas Crowley and his half-German, Highly evocative, rich in detail Guides: half-Scottish ancestry. A long interview with Kenneth with literary allusions and quotes, Anger about some of the problems these notes accompany screenings ce that befell his film career at of FIREWORKS, SCORPIO RISING and SUNDAY CORRESPONDENT around that time, including piracy LUCIFER RISING (PART 1). 5 August 1990, p. 1, 2 and preservation of his films. Includes the interesting revelation Fatman in Babylon, by Kenneth Sour that Stan Brakhage helped per- NEW MUSICAL EXPRESS Anger

+ suade Anger to return to America 13 April 1985, pp. 42-43 at the end of the 1960’s. This is an essay on the Christian The gilded palace of sin, by Brando (son of Marlon) case writ- 16 Kristine McKenna ten by Kenneth Anger. Interesting VILLAGE VOICE for a glimpse into Anger’s style of 13 October 1975 An interview with Anger to mark writing and attitude to the down- the publication of Hollywood fall of Marlon Brando. A highly Kenneth Anger, by Greil Marcus Babylon II. While primarily focus- appropriate subject for the man ing on Hollywood this also gives a behind ‘Hollywood Babylon’. Marcus writes about the film mon- good insight into Anger’s film tage put together by Anger based career. An interesting and enter- on Hollywood Babylon. Describing taining read, with Anger in good- TIME OUT the show as “halfway between a humour. 27 February 1991, pp. 22-23 celebration and a horror story”, this offers brilliant descriptions of Beyond our Ken, by Alkarim Jivani Anger and his enthusiasms. SUNDAY CORRESPONDENT 14 January 1990, p.41 A profile of Kenneth Anger. Informative, but focuses more on SOUNDS Stuff of dreams: look back with his writing career with the 2 September 1976 Anger, by Mick Brown ‘Hollywood Babylon’ books; his relationship with Hollywood, with Anger rising, by Osiris A profile of Kenneth Anger that some mention of the ups and notes that the Hollywood Babylon downs of his filmmaking career. A A feature on the sacking of Jimmy books were primarily written to good source of information for Page (of Led Zeppelin) as composer finance his films and how he fitted- Anger’s life from the 1980’s for the soundtrack for Kenneth into and was part of the more eso- onwards. Anger’s film LUCIFER RISING. An teric parts of the 1960’s counter- interesting account of a rather culture. An entertaining bizarre and controversial incident read with a few interesting from the career of Kenneth Anger. anecdotes.

CINEMA TEXAS PROGRAM NOTES GUARDIAN Vol.11 No.1. 27 September 1976 15 January 1990, p. 38

Two films by Kenneth Anger. Evil be though my film good, by Michael O’Pray Extremely detailed, fascinating and literate programme notes to To coincide with the accompany screenings of SCORPIO Guardian Lecture that Invocation of My Demon Brother (1969)

BFI National Library 16 stan brakhage BRAKHAGE, Stan and HALLER, ELDER, R. Bruce Robert A. A body of vision: representations Brakhage scrapbook: collected of the body in recent film and writings, 1964-1980. poetry. Documentext, 1982. 262p. bibliog. fil- Wilfrid Laurier University Press, mog. index 1997. v-viii, 400p. bibliog. index.

Comprising a collection of essays An examination of how the body is and letters. Though interesting at represented in culture. In the times, the level of self-absorption chapter ‘The body as the universe in the writings indicates that no in Stan Brakhage’s early films’ one was more fascinated by Elder discusses Brakhage’s use of Brakhage, than Brakhage himself. the body in DOG STAR MAN. And in ‘The cognitive body…another view of the films of Stan BRAKHAGE, Stan Brakhage’, Elder takes a broader Film at wit’s end: eight avant- overview and explores Brakhage’s books garde filmmakers. films as a visionary experience, Documentext, 1989. 183p. plates. fil- and the influence of poets, such as mogs. index. Charles Olson BARRETT, Gerald R and BRABNER, Wendy Brakhage profiles eight avant- Stan Brakhage: a guide to refer- garde filmmakers, whom he has ELDER, R. Bruce ences and resources. either known or admired. The The films of Stan Brakhage in the G.K. Hall, 1983. 301p. bibliog. fil- filmmakers are interesting in American tradition of Ezra Pound, mog. indices. themselves and Brakhage displays Gertrude Stein and Charles Olson. an easy familiarity with the artists Wilfrid Laurier University Press, This guide is essential for anyone and their works, but his relaxed 1998. iii-xi, 572p.; bibliog. filmog. undertaking research into Stan style of writing can be irritating index. Brakhage and his films. The biog- 16 + Source Guides: Experimental Film after a while. raphy at the beginning is incredi- An enthusiastic study of bly useful and the synopsis of the Brakhage’s films comparing them films fantastic in their detail. Very BRAKHAGE, Stan and MCPHERSON, with the early American modernist readable. Bruce R. poetry. Whilst very thorough and Essential Brakhage: selected writ- comprehensive and presenting an ings on filmmaking. interesting model for the interpre- BRAKHAGE, Stan Documentext, 2001. 232p.; illus. bibliog. tation of Brakhage’s films, the The Brakhage lectures: Georges dense theoretical tone can be off- Melies, David Wark Griffith, Carl Taking, essays, poems and other putting. Theodore Dreyer, Sergei writings from works such as Eisenstein. ‘Metaphors of vision’ and The Good Lion, 1972. 106p. plates. ‘Brakhage scrapbook’, this is a FIELD, Simon good introduction to the writings, Stan Brakhage: an American inde- A collection of lectures that were thoughts and inspirations of Stan pendent film-maker. given as part of a film course. Brakhage. Arts Council of Great Britain, [1979]. Brakhage offers a personal inter- 45p. illus. bibliog. pretation of the filmmaker’s works, with the insight of one BRAKHAGE, Stan A pamphlet produced to accompa- artist to another. Telling time: essays of a visionary ny a touring exhibition of Stan filmmaker. Brakhage’s films. Includes a Documentext, 2003. 144p. illus. detailed filmography and a very BRACKHAGE, Stan useful timeline placing Brakahge’s Film biographies. Published just after Brakhage’s work within a cultural context. Berkeley, Turtle Island, 1977. 295p. death, this collects essays he Also includes essays by Stan illus. wrote for a Toronto-based avant- Brakhage. This collection comprises the garde magazine ‘Musicworks’. essays from ‘The Brakhage Covering a range of subjects from GRANT, Barry Keith and SLO- Lectures’ with additional writ- art to science, Brakhage takes a NIOWSKI, Jeanette ings/biographies on other artists broad approach to his themes call- Documenting the documentary: as diverse as Jean Vigo and F. W. ing on many areas of knowledge to close readings of documentary Murnau to Laurel & Hardy. Again make his point. As his editor, film and video. Stan Brakhage’s style of writing Bruce McPherson, points out in the Wayne State University Press, 1998. can take getting used to as his introduction, “a Brakhage essay is 488p.; illus. bibliog. index. style is quite conversational, how- in its own right a work of continu- ever, he does make many interest- ity art”. A collection of essays on the ing points about his subjects.

BFI National Library 17 breadth of documentary film mak- FILM COMMENT ing, past and present. In the chap- journal articles Vol.39. No.3. May/June 2003, pp. 10-11 ter, ‘Seeing with experimental eyes’ Bart Testa writes about Stan PREMIERE Obituary: Stan Brakhage, by Steve Film Brakhage’s THE ACT OF SEEING Vol.17. No.1. September 2003, p. 100 Anker WITH ONE’S OWN EYES; Brakhage films in close-up six/seven autop- Obscure projects: handmade films, This exhaustive account provides sies being performed in the city by Alan Licht a useful overview of Stan morgue. An unsettling film to Brakhage’s career. watch, Testa’s analytical approach Ostensibly a review of a DVD box to a difficult film can at times be set, but still useful for the writer’s equally disturbing. Be warned, comments about Stan Brakhage’s POEM FILM FILM POEM stills from the film accomopany importance and influence as a No.8. 2000, pp. 1-2 this essay. filmmaker. The luminous eye, by William C. Wees Experimental KELLER, Marjorie MILLENNIUM FILM JOURNAL The untutored eye: childhood in No.41. Autumn 2003, p. 19 Taking the idea from the poet the films of Cocteau, Cornell and modernist Ezra Pound to “make it Brakhage. Stan Brakhage remembrances, by new” Wees explores the use of this Associated University Presses, 1986. various people idea in Brakhage’s DOG STAR 268p. illus. bibliog. index. MAN. Though more to do with

Guides: An issue made-up mainly of a col- Pound’s Cantos, rather than Childhood and the family are lection of photographs, letters and Brakhage’s film, this brief article important subjects in the works of reminiscences of Brakhage by fel- has ideas worth exploring. ce Stan Brakhage. The chapter ‘Stan low filmmakers, friends and Brakhage, the family romance’ acquaintances. explores this interest, especially in FILMMAKER Brakhage’s WEIR-FALCON SAGA Vol.7 No.2. February/April 1999, p. 78 Sour through a history of literary tradi- INDEPENDENT FILM AND VIDEO

+ tions and representations. An MONTHLY Mountain man, by Steve Anderson interesting and useful addition to Vol.26 No.6. July/Aug 2003, pp. 53-55 the study of Brakhage’s work. A brief article about a documen- 16 Voice from the past: “Village” tary that was made about Stan reviews to notes by Brakhage, by Brakhage, called simply BRAKHAGE MCBRIDE, Joseph Bryan L. Frye by Jim Shedden. Useful as an Filmmakers on filmmaking: the overview of the man, his career American Film Institute seminars The books reviewed provide a use- and as a figurehead for experi- on motion pictures and television, ful context for the flourishing of mental filmmaking. volume two. American Film the American Avant-Garde from Institute. the 1950’s onwards. J.P. Tarcher, 1983. 239p. illus. bibliog. MILLENNIUM FILM JOURNAL index. No.32/33. Autumn 1998, pp. 105-130 INDEPENDENT FILM AND VIDEO Comprises a wide-range of inter- MONTHLY Brakhage and the theory of mon- views with people working in film Vol.26 No.4 May 2003, pp. 9-10 tage, by Victor A. Grauer from Jean Renoir to Charlton Heston and including an interview An adventure of perception: Stan A highly theoretical piece that with Stan Brakhage as the “inde- Brakhage 1933-2003, by Elizabeth takes in many philosophical and pendent filmmaker”. This is a fas- Peters cultural theories of the twentieth cinating interview with Brakhage, century and addresses them with as he is at his most straightfor- Partly an obituary and partly a regards Brakhage’s work. There ward. Worth reading for his cri- reminiscence, Peters emphasises are ideas of interest and it brings tiquing of his films and his opin- Brakhage’s influence “on contem- together much that has been said ions on the role of the artist in porary work in experimental film, about Brakhage, but a lot of society. music video and advertising”. patience is needed.

NESTHUS, Marie and BRAKHAGE, SIGHT AND SOUND INDEPENDENT FILM AND VIDEO Stan Vol.13 No.5. May 2003, p. 3 MONTHLY Stan Brakhage. Vol.21. No.4. May 1998, pp. 16-17 Walker Art Center, 1979. 23p. illus. Obituary: Stan Brakhage, by Paul Arthur Stan Brakhage: commingled con- An analysis of some of Stan tainers, by Jeremy Lehrer Brakhage’s later works such as the An appreciation of the life and SINCERITY series and other works. work of Brakhage. The obituary A feature and interview with Stan provides a concise but informative Brakhage that focuses on his account of Brakhages’s career and career after he had been diag- his importance as a filmmaker. nosed and treated for bladder can- cer and the impact it had on his

BFI National Library 18 life and working methods. on the arts that disgusts Brakhage. MILLENNIUM FILM JOURNAL No.14/15. Aut/Wint 1984/85, pp. 22-27

CINEMATOGRAPH MILLENNIUM FILM JOURNAL “Any fool can see for himself”:

Film Vol.6 No.spec. 8mm. 1998, pp. 60-61 No.25. Summer 1991, pp. 100-107 notes on Brakhage’s scrapbook, by Christopher Sharrett An at-oneness, by Stan Brakhage Getrude Stein: meditative litera- ture and film, by Stan Brakhage Written to coincide with the publi- In an issue devoted to celebrating cation of ‘Brakhage Scrapbook’ a 8mm film, Brakhage argues that The poems of Gertrude Stein have series of essays and papers that for him it’s not the gauge of the been cited as a big influence on detail Brakhage’s thoughts, ideas film that matters but the lightness Brakhage and in this essay he and his place as an artist. Though of the equipment as this “permits explores how facets of her poetry Sharrett places Brakhage firmly in an intimacy, an at-oneness with (i.e. the use of repetition) and the a Romantic tradition, he notes that the maker”. differences in trying to do stylisti- the book helps to place Brakhage cally similar things in literature and his work in a wider historical Experimental and on film. context. The article offers many FILM COMMENT insights into the personality of Vol.31 No.5. Sept/Oct 1995, pp. 68-76 Stan Brakhage and his work. MILLENNIUM FILM JOURNAL Qualities of light: Stan Brakhage No.16/18.Aut/Win 1986/87,pp.297-307 and the continuing pursuit of UNDERCUT

Guides: vision, by Paul Arthur Stan Brakhage at the MILLENNI- No.7/8. Spring 1983, p. 16 UM: November 4, 1977 This piece provides an insight into Letter, by Stan Brakhage ce some of the themes and tech- The transcript of a question and niques of Stan Brakhage’s work answer session that followed the A confused and confusing letter such as the use of light, why he screenings of THE GOVERNOR and from Stan Brakhage on landscape doesn’t use sound, the use of his THE DOMAIN OF THE MOMENT. and his films, with particular ref- Sour family. Utilising Brakhage’s own Brakhage comes across as some- erence to the ARABIC NUMERAL

+ writing Arthur creates a useful times “difficult” in his exchanges series. overview of the work. Particular with the audience members, but it attention is paid to two of does provide an excellent opportu- 16 Brakhage’s films: MURDER PSALM nity for Brakhage to expound on MOVIE MAKER and A CHILD’S GARDEN AND THE his theories. Vol.17. No.5. May 1983 SERIOUS SEA in which two differ- ing visions of his family are Going off the rails with “under- offered. SUBSTANCE ground movies”, by Ivan Watson No.51. 1986. pp. 87-95 An anti Avant-Garde piece in SIGHT AND SOUND An eye for an I: on the art of fasci- which Watson describes experi- Vol.3. No.10. October 1993, pp. 20-23 nation, by Allen C. Weiss mental filmmaking as “a form of impudent self-indulgence”. With All that is light Brakhage at 60, by Weiss starts his essay with an art particular reference to Brakhage Suranjan Ganguly history dialogue on the relation- Watson believes that filmmakers ship between art and the world, can still be experimental without An exhaustive interview with and moves on to describe sacrificing established narrative Brakhage that examines his film- Brakhage’s films in relation to techniques in film or aiming to be making techniques and subject precedents in art. incomprehensible. An unfashion- matter in quite a lot of depth. able argument against modernism Though sometimes very theoreti- in art, but probably a popular one. cal in tone, this is still a useful MONTHLY FILM BULLETIN article for anyone studying Vol.53 No.625. February 1986, pp. 60-62 Brakhage. FILM QUARTERLY In the American vein, by Simon Vol.35 No.3. 1982, pp.35-43 Field MILLENNIUM FILM JOURNAL The film-maker as romantic poet: No.26. Autumn 1992, pp. 56-66 Noting Brakhage’s pre-eminent Brakhage and Olson, by David position amongst American avant- James Grisled roots: an interview with garde filmmakers, Field goes on to Stan Brakhage, by Gary Higgens examine why Brakhage’s films This heavily theoretical article became underrated in the starts with the distinction between An essential article as Brakhage 1970’s/80’s and reassess the films “poetic” independent films and eloquently explains his work and Brakhage made over this period. “prosaic” mainstream or feature influences and his relationship to This is followed by a reviews of: films. James then goes on to argue art and culture in general. It is THE ACT OF SEEING WITH ONE’S that this distinction, though valid, obvious that there is much about OWN EYES, MURDER PSALM and can be re-argued in terms of the society and politics and its impact SINCERITY REELS 1, 2, 3. work of Stan Brakhage. Providing a background to Romantic and Modernist poetry, James then

BFI National Library 19 moves on to examining the work MISCONCEPTION in which she ment has changed over time. The of Brakhage. An interesting essay, filmed her sister-in-law giving almost itinerant lifestyle is com- but the style of writing and depth birth. Highlighting the feminist pared to that of being in a travel- of examination may put off most debates that were taking place not ling circus.

Film but the most serious of Brakhage only in society (the role of the scholars. male parent in childbirth) but in filmmaking (i.e. woman as cipher MILLENNIUM FILM JOURNAL for the male artist’s meaning) and Vol.1 No.2. Spr/Sum 1978, pp. 4-13 MILLENNIUM FILM JOURNAL discussing the similarities and dif- No.6. Spring 1980, pp. 43-49 ferences between the films this Structural film: revisions, new ver- article offers an interesting debate sions, and the artefact, by Paul Brakhage’s dreamscape, by on the subject. Arthur Christopher Sharett This examination of Looking at the increasing influ- FILM CULTURE Structuralist/Materialist film (or ence of “dream consciousness” in No.67/69. 1979, pp. 94-96 the object/artifact in film – and a Experimental Brakhage’s films (particularly in disputed term at that) focuses on the NIGHTMARE SERIES) and the Manifest, August 16, 1974, by Stan both Andy Warhol and Stan filmmaker’s attempts to document Brakhage Brakhage. Though not wholly day and night dreaming. This arti- aligned with this type of filmmak- cle provides a useful look at the A poetic statement of ing, Brakhage’s MOTHLIGHT changing themes and ideas in intent/manifesto by Brakhage on involved glueing moth wings,

Guides: Brakhage’s work. Art. Interesting if slightly petals and other objects directly inscrutable. onto the strips of film rather actu- ally filming something. Though an ce AMERICAN FILM article requiring a lot of patience Vol.5. No.2. November 1979, pp.37-40 FILM CULTURE this provides a good introduction No.67/69. 1979, pp. 97-108 to an important aspect of experi- Where is the avant-garde going? mental filmmaking. Sour by J. Hoberman Notes on Brakhage’s “23rd Psalm + Branch”, by Gail Comhi The question of “Where the avant- MILLENNIUM FILM JOURNAL garde is going?” is never really Vol.1 No.1. Winter 1977/78, pp. 60-105 16 A detailed critique of the 23rd answered in this article, but what PSALM BRANCH as a reaction to the Hoberman’s essay does do is give a Autobiography in Avant-Garde Vietnam War. brilliant background to the history film, by P. Adams Sitney and personalities of the avant- garde film movement. This article An exhaustive essay on the “devel- FILM CULTURE provides a good insight for those opment of the filmic autobiogra- No.67/69. 1979, pp. 109-129 new to the subject. phy”. Though of much interest to those studying Brakhage the heav- Stan Brakhage speaks on “23rd ily theoretical tone can be off-put- Psalm Branch” at Film-makers TIME OUT Cinematheque, April 22nd, 1967 ting. No.497. 26 October 1979, p. 19 An impenetrable account by A is for Avant-Garde, B is for Brakhage of his ideas and the film- FIELD OF VISION Brakhage, by Ian Christie ing of his 23rd PSALM BRANCH. No.2. Summer 1977, pp. 1-5

Written to coincide with a retro- Autobiography in Stan Brakhage’s rd spective of Brakhage’s work at the FILM COMMENT 23 Psalm Branch, by Wanda London Film-Maker’s Co-op this Vol.14. No.2. Mar/April 1978, pp.9-18 Bershen article is more personal in tone The autobiographical element is than most written about Stan The Mekas Bros. Brakhage and an important feature of Stan Brakhage. Many topics are covered Baillie travelling circus, by Mitch Brakhage’s work. Bershen explores with much that is of interest to Tuchman those studying Brakhage. the development of this in Brakhage’s work from 1958-65 and This is an article that could be then with particular reference to read as “A day in the life of the the 23rd PSALM BRANCH. The bibli- MILLENNIUM FIM JOURNAL avant-garde filmmaker”. Though No.4/5. Sum/Aut 1979, pp. 64-70 ography at the end of this article is with a lot of the focus on a useful listing of materials about Brakhage, this is an interesting Brakhage up to the point of publi- Misconception = the “division of account of the avant-garde film cation, however, if some of these labor” in the childbirth film, by movement in America. There is a materials are not listed in this 16+ Anne Friedberg lot of useful information on vari- Source Guide, they may prove dif- ous filmmakers and an insight ficult to get hold of. Comparing Brakhage’s seminal into how a filmmaker actually WINDOW WATER BABY MOVING in exists and creates their films at which he filmed his wife giving the same time outside of the birth to their first child, with mainstream and how the move- Marjorie Keller’s “loving critique”

BFI National Library 20 FILM QUARTERLY TAKE ONE Vol.29 No.3. 1976, pp.30-34 Vol.3 No.11. May/June 1972, pp. 38-39

Brakhage: artistic development in Letter

Film two childbirth films, by William R. Barr A letter about the SEXUAL MEDITA- TION FILMS by Stan Brakhage and Focusing on two of Brakhage’s though the writer seems to be films in particular: WINDOW quite appreciative of Brakhage’s WATER BABY MOVING and THIGH films in general, they seem to be LINE LYRE TRIANGULAR, both of quite critical of this particular which show Brakhage’s wife (Jane) series. Though interesting, proba- giving birth. Brakhage’s use of his bly only worth reading for the own family as subject matter in completist Brakhage fan. his films is one of the key themes when examining his work. Barr Experimental discusses the nature of an artist’s FILM LIBRARY QUARTERLY subjectivity and how Brakhage’s Vol.4. No.3. Summer 1971, pp. 43-47 view of his films differs from that of his wife’s. Stan Brakhage: transforming per- sonal vision into a rhythmic struc- ture, by Katherine Smith

Guides: MILLENNIUM FILM JOURNAL No.4/5. Sum/Aut 1975, pp. 153-156 Stating that Brakhage has “released film from its dependence ce Brakhage’s Sincerity III, by Phoebe upon literary themes and sym- Cohen bols”, Smith goes on to explore how Brakhage’s style has moved Focusing on another deeply auto- on from the early psycho-dramas Sour biographical work by Brakhage that were popular in early Avant

+ Reel III of SINCERITY deals with the Garde films to something more period when he was in his thirties. poetic. Focusing on ANTICIPATION Cohen examines how Brakhage OF THE NIGHT as a signifier of this 16 utilises a series of techniques to transformation. A concise but denote the passing of time and the useful summary of the themes condensing of memory. and techniques of Brakhage’s work.

CANTRILLS FILMNOTES No.21/22. April 1975, pp. 33-53 FILM LIBRARY QUARTERLY Vol.3. No.3. Summer 1971, pp. 23-32 Stan Brakhage: the text of light, by Sally Dixon and Stan Brakhage Discovering Brakhage: a personal view of the MOMA retrospective, This is the transcription of an by Douglas Lee interview that took place with The Garden of Earthly Delights Stan Brakhage to mark the pre- Lee offers a critical introduction to miere of his work THE TEXT OF the work of Stan Brakhage and LIGHT. As can be guessed from the then critiques the films in each of THOUSAND EYES MAGAZINE length of a discussion that went the programmes that were being Vol.2 No.5. January 1977, pp. 24, 26 on for over two hours, there is a screened and the audience’s reac- lot that is covered here, mainly tions to them. A not wholly posi- Brakhage: elements of light, by concerning his working methods tive reaction to Brakhage’s films Richard Bartone and influences. However, how but a plain-speaking antidote to much patience those studying the hyperbole that has been writ- Written to coincide with Brakhage Brakhage need to read all this is ten by both Brakhage and others. retrospectives at both the Museum open to debate. of Modern Art in New York and at the Port Washington Public Library, AFTERIMAGE Bartone aims to “present ways of DIALOGUE ON FILM Vol.1. No.2. Autumn 1970, pp. 9-13 approaching Brakhage’s films”. Vol.2. No.3. January 1973, pp. 43-47 Though brief, this does serve as a Avant Garde film: Stan Brakhage, useful introduction to both the Stan Brakhage seminar by P. Adams Sitney influences and style of Brakhage’s films. An exhaustive, though nonethe- This serves as a useful apprecia- less entertaining account by tion but also critique of Brakhage’s Brakhage of his working methods, work. Focusing primarily on his ideas, and life, including his theo- films LOVEMAKING and SCENES ries on filmmaking. A useful FROM UNDER CHILDHOOD, Sitney insight into the filmmaker. talks about Brakhage’s prolific out-

BFI National Library 21 put of films, his preference for not his “poetic cinema”. touches on many subjects, such using sound and his theories in as, artists being honoured, art edu- general. cation in America and much more. FILM QUARTERLY By this time Brakhage was already

Film Vol.14. No.3. Spring 1961, pp.47-48 considered one of the elder states- TAKE ONE man of the Avant-garde and this Vol.3 No.1. Sept/Oct 1970, pp. 6-9 Films of Stan Brakhage, by Ernest very lengthy interview reflects Callenbach this. Transcription of some remarks by Stan Brakhage… Callenbach offers a fairly damning critique of Brakhage’s films and CHRISTIAN SCIENCE MONITOR Given as an introduction and later finds little to praise in either the 12 December 1977 a discussion at a screening of Parts films themselves or Brakhage’s 3 and 4 of his SCENES FROM UNDER techniques. An alternative point- Meet the guru of non-Hollywood CHILDHOOD series. This discus- of-view from most articles and filmmakers, by David Sterritt sion is another useful example of though mean, quite entertaining Experimental Brakhage’s ability to sometimes to read. Describing Brakhage as one of the say a lot without saying much of world’s “master filmmakers” this interest at all. Quite amusing for profile is aimed at readers unfa- the moment when a questioner miliar with Brakhage or his films. comments on the film putting press articles This profile highlights the impor- them to sleep. tance of Brakhage not only to

Guides: THE MUSEUM OF MODERN ART experimental filmmaking, but also No.44. April 1971 to filmmaking in general. In the FILM CULTURE interview itself, Brakhage talks ce No.40. Spring 1966, pp. 8-12 America’s most important film about the changing climate for experimenter in Museum retro- experimental filmmakers and how Two essays on Brakhage and his spective. his films are viewed; in particular songs, by Jerome Hill and Guy the responses of children. Sour Davenport Though brief, this press release

+ offers a useful overview of Both essays discuss Brakhage’s Brakhage’s life and career up to CINEMA TEXAS PROGRAM NOTES 8mm SONG SERIES. In the first that point. Vol.11. No.2. 11 October 1976 16 essay, Jerome Hill offers a subjec- tive exploration of the themes and Three films by Stan Brakhage techniques Brakhage’s uses in the VILLAGE VOICE “Songs”, whereas in the second 21 June 1973 These notes accompany screen- essay Guy Davenport talks about ings of DESISTFILM, REFLECTIONS the direct influence of the films of A varied burst of Brakhage, by ON BLACK and ANTICIPATION OF the Lumiere brothers on Brakhage Clinton Delaney THE NIGHT. Mixing quotes, com- for the “Songs”. The second essay ment and technical information, is a much more detailed account Reviews of Brakhage’s films from they are an excellent source of of the films though both essays 1971-72: EYE MYTH, THE PROCESS, information. make interesting reading. THE RIDDLE OF LUMEN, THE SHOES FILM CULTURE OF PHOS: A FABLE, THE ACT OF SEE- No.30. Autumn 1963 p. whole issue ING WITH ONE’S OWN EYES, THE VILLAGE VOICE WOLD SHADOW, THE PRESENCE, 21 June 1988, pp. 70, 72, 74-75 Metaphors on vision, by various SEXUAL MEDITATION, ROOM WITH VIEW, FAUN’S ROOM: VALE, OFFICE Visions of excess, by Katherine SUITE, HOTEL, OPEN FIELD and SIN- A whole issue devoted to Brakhage Dieckmann CERITY. Not only does this article and his work, including both an highlight the astounding rate of interview with him and text by A review for KINDERING, LOUD output Brakhage had but also the him. This is essential reading, VISUAL NOISES, THE DANTE QUAR- techniques he used and pioneered especially for the interview with P. TET, FAUSTFILM: AN OPERA and in his filmmaking. Adams Sitney at the beginning FAUST’S OTHER: AN IDYLL. The and for Brakhage’s essay on his films mark a return to Brakhage’s approach to “seeing.” use of sound. While describing VILLAGE VOICE Brakhage as the “paterfamilias of 28 June 1973, 5 July 1973, 12 July experimental film”, Dieckmann 1973,19 July 1973 and 26 July 1973 FILM CULTURE isn’t afraid to describe some of his No.24. Spring 1962, pp. 5, 84 work as “overlong and laboured”. Stan Brakhage (parts one-five), by Jonas Mekas Film Culture’s 4th Independent Film Award A four-part interview with Brakhage to celebrate his 40th Writing about “Stanley Brakhage” birthday and his being honoured and announcing the films THE with a special citation by Brandets DEAD and PRELUDE have won Film Culture’s 4th Independent Film University for his “contribution to award. Special focus of praise is the art of cinema”. Brakhage

BFI National Library 22 VILLAGE VOICE 12 March 1991, p. 58 andy warhol 1928 - 1987 The olde garde advances, by

Film Manohla Dargis

At the beginning of the article Dargis describes Brakhage as being “brutally marginalized”. Though brief this feature is excellent for highlighting the changing politics of the Avant-garde, so that Brakhage’s work, while lauded in the 1950’s and 60’s was seen as patriarchal by the mid-70’s and out of step with times. Worth reading Experimental for the concise assessment of Brakhage and his work.

GUARDIAN 15 March 2003, p. 23 Guides: Stan Brakhage, by Ronald Bergen ce An obituary of Brakhage that talks it’s the character portraits that are about the importance and signifi- books fascinating. cance of Brakhage’s work to film- making and the continuing influ- ABRAHAMS, Anna Sour ence of his legacy. Warhol films. BOURDON, David

+ Rongwrong,1989. 72p. illus. bibliog. Warhol. filmog. Harry N. Abrams, 1989. 432p. illus. VARIETY (some col.). bibliog. index. 16 17-23 March 2003, p. 59 Abrahams believes that most of the studies of Warhol’s work have An exhaustive book covering all Long on shorts, influence and approached it from the wrong the different periods of Andy experimentation: Brakhage, by direction. Basing her analysis of Warhol’s life and work. There are Robert Koehler Warhol’s films as an extension of many beautiful and interesting his art, Abraham’s provides a cri- images in this book and it includes Though brief, this obituary high- tique grounded in art history and an in-depth look at CHELSEA GIRLS lights the seminal importance of specifically the avant-garde. and LONESOME COWBOYS. some of Brakhage’s films and notes that though his work in the 1970’s and 80’s had suffered from ANGELL, Callie FINKELSTEIN, Nat neglect, he was gaining new expo- Something secret: portraiture in Andy Warhol: the Factory years sure up to the time of his death Warhol’s films. 1964-1967. thanks to two of his former stu- Museum of Contemporary Art, 1994. Sidgwick & Jackson, 1989. [94]p. illus. dents, namely Trey Parker and 24p. illus. filmog. bibliog. Matt Stone, the creators of SOUTH A highly entertaining account of PARK. Compiled to accompany an exhibi- life at the Factory. Finkelstein rec- tion of Warhol’s work, Angell notes ollects the personalities, incidents that Warhol’s films can be seen as and events that made it such a TIMES “The representation of individual talking point of the underground 24 March 2003, p. 29 personalities – of actual human in the 1960’s. Includes many inter- beings rather than fictional char- views and photographs. Stan Brakhage acters”, and therefore works of portraiture. There are brief discus- More autobiographical than, some sions of many of the Warhol- GIDAL, Peter of the obituaries written, this directed films. Andy Warhol: films and paintings. focuses more on Brakhage himself E.P. Dutton, 1971. 158p. illus. index. and his family. BOCKRIS, Victor Divided into two distinct sections Warhol. ‘Paintings’ and ‘Films’, Gidal offers Fredrick Muller, 1989. 528p. bibliog. an excellent introduction and filmog. index. analysis of Warhol’s films and the critical reception they received. For anyone studying Warhol, this biography gives the most thorough insight into his life and times. Though the films are discussed,

BFI National Library 23 GRUNDMANN, Roy described as mute or impassive, RUSSELL, Catherine and BEN- Andy Warhol’s Blow Job. Koch’s portrait of Warhol is com- JAMIN, Walter Temple University Press, 2003. ix, 228 pelling and fills in many of the Experimental ethnography: the p.; illus. notes. index. blanks about the man behind the work of film in the age of video.

Film Factory and the films. Duke University Press, 1999. x-xviii, Though only a short single-take 391p.; illus. bibliog. filmog. index. film, Grundmann examines BLOW JOB as an important part of the KOESTENBAUM, Wayne Repositioning Warhol’s earlier debates on “pop and art, pornogra- Andy Warhol. films, Russell discusses the “play- phy and avant-garde, gay and Weidenfeld & Nicolson, 2002. 196 p. ful tension between performance straight, visible and invisible sex”. and voyeurism” and that Warhol Covers not only film studies, but Though a biography of Warhol, was an ethnographer (traditionally also queer and cultural theory too. Kostenbaum has some interesting used to describe different races of things to say about the making of people) of a subculture “obsessed the films and the pitfalls of life at with exhibitionism, stardom and GUILES, Fred Lawrence the Factory. Offers a wry critique theatricality”. An interesting Experimental Loner at the ball: the life of Andy of its subject. recontextualisation of Warhol’s Warhol. films. Bantam, 1989. 420p. plates. bibliog. index. MACCABE, Colin and FRANCIS, Mark et al. SHAPIRO, Steven A straightforward account of the Who is Andy Warhol? The cinematic body. life of Andy Warhol. There is little Minnesota University Press, 1993.

Guides: British Film Institute,1997. vi-viii, in the way of analysis, but it still 162p. illus. index viii-xi, 278p. bibliog. index. does provide an insight into the ce characters in Warhol’s films and Comprising a collection writings Offering a very personal interpre- surrounding him at the Factory. on the work of Andy Warhol, this tation of the works of various film- attempts to explore the range of makers, through their onscreen his activities, the nature of his representations of the human Sour GUNTON, Sharon R. achievements and the extent of body, this touches on many areas

+ Contemporary literary criticism, his influence. Ranging from per- including politics, aesthetics and Vol. 20. sonal recollections to critical postmodernism. The chapter on Gale Research, 1982. - 596p. indices. analysis. Warhol highlights Shapiro’s confu- 16 sion of thought and his at times A collection of literary criticism of non-linear approach can be off- various writers and filmmakers. MENDI, Xavier and SCHNEIDER, putting. However, this book does The section on Andy Warhol is an Steven Jay et al. provide areas of discussion/debate. excellent starting place for anyone Underground USA: filmmaking interested in Warhol’s films as the beyond the Hollywood canon. selection of critical writings pri- Wallflower Press, 2002. xvii, 235 p.; SHORE, Stephen and TILLMAN, marily offer a contemporary per- illus. notes. index. Lynne spective to his work. The velvet years: Warhol’s Factory, This survey of the different 1965-67. strands of American underground Thunder’s Mouth Press, 1995. HARRON, Mary and MINAHAN, filmmaking serves as a helpful Daniel introduction to the films of Andy Primarily a picture book of images I shot Andy Warhol. Warhol. The chapter on him high- taken at the Factory during its Grove Press, 1996. v-xxxi. 190p. [8] lights many of the debates that heyday in the mid-1960’s. It does plates. have surrounded his work, and include some brief reminiscences gives a constructive overview of by some of the participants. The screenplay to the film I SHOT the films. ANDY WARHOL, in her introduc- tion, Harron offers a sympathetic SMITH, Patrick S critique of Valerie Solanas, going O’PRAY, Michael Andy Warhol’s art and films. so far as to suggest that she can be Andy Warhol: film factory. UMI Research Press, 1986. 613p. illus. viewed as a pioneer of radical fem- British Film Institute, 1989. 195p. bibliog. index. inism. Interesting as it offers illus. bibliog. filmog. index. another point of view on a pivotal A thorough examination of person from Andy Warhol’s life. O’Pray draws together different Warhol’s work. Smith takes as his writers to explore Warhol’s films starting point, Warhol’s fascination from a variety of angles. with image and stardom and KOCH, Stephen Thoughtful without over-theoris- shows how this was translated Stargazer: the life, world and films ing its subject, these essays pro- into the Factory and his films. of Andy Warhol vide useful areas of research. Including interviews with many rev. upd. ed Marion Boyars, 1991. one-time associates or Factory 153p. [30] plates. filmog. index. superstars, this book is essential reading. The focus is much more on Warhol as a person than many of the other works about him. Usually

BFI National Library 24 STEIN, Jean and PLIMPTON, George WARHOL, Andy and HACKETT, Pat MILLENNIUM FILM JOURNAL Edie: an American biography. The Andy Warhol diaries. No.38. Spring 2002, pp. 8-18 Alfred A. Knopf, 1982. 455p. illus. Simon & Schuster,1989. 807p. plates. Peregrinations of the Avant Garde:

Film The most famous of Warhol’s A highly entertaining if vacuous the Chelsea Girls go to Russia, by superstars, Edie Sedgewick contin- read. Starting from 1976 up to David James ues to exert a certain fascination Warhol’s death, the diary gives a over those who have heard of her great insight into Warhol and his Two of Andy Warhol’s films THE or seen her in films. A sad but later life. Though there are refer- CHELSEA GIRLS and OUTER AND well-told tale of one of Warhol’s ences to some of the films and INNER SPACE were shown as part brightest stars. people that populated the Factory of programme of US Avant-Garde the lack of an index means that as films that toured in Russia. This a source of research, this is a very article is an examination of the TAYLOR, John Russell frustrating book. similarities and relationship of the Directors and directions: cinema American Avant-Garde to Russian for the seventies. sensibilities compared with the Experimental Eyre Methuen, 1975. - 327p. bibliogs. WILCOX, John and WARHOL, Andy overtly consumerist nature of filmogs. The Autobiography and sex life of Warhol’s art. There is an interest- Andy Warhol. ing debate within this article and Comprising studies of various Other Scenes Inc, 1971. [126]p. illus. an insight into the Russian recep- directors, Taylor’s informal dissec- tion to Warhol’s films; it is at times tion of Andy Warhol’s and Paul Very much an “art book”, the inter- overly theoretical.

Guides: Morrissey’s films gives an uncom- views with Warhol’s friends and plicated appreciation of their work associates can be seen as a good and of the social and artistic con- source of contemporary informa- MILLENNIUM FILM JOURNAL ce text from whence it came and of tion and therefore very useful. No.38. Spring 2002, pp. 19-33 their place in the American under- ground. Doubling the screen: Andy WORONOV, Mary and NAME, Billy Warhol’s Outer and Inner Space, Sour Swimming underground: my by Callie Angell

+ ULTRA VIOLET years in the Warhol factory. Famous for 15 minutes: my years High Risk,1995. 152p.; illus. Restored by the Museum of with Andy Warhol. Modern Art, OUTER AND INNER 16 Methuen, 1989. 274p. plates. Woronov’s memoir reads like a SPACE is a 16mm film of Edie novel. She paints a highly vivid Sedgwick sitting in front of a Though potentially interesting as and evocative picture of life at the screen showing a pre-recorded an insiders account of life at the Factory. Both fascinating and video of herself and then shown Factory, there is little insight in scary in equal measures. on a double-screen. Made in 1966, this biography. this piece examines not only the making of the film and its techni- WRENN, Mike cal aspects in comparison to some WARHOL, Andy Andy Warhol: in his own words. of Warhol’s other films, it is also Blue movie: a film. Omnibus Press, 1991. 94p. illus. an examination into the persona Grove Press, 1970. - 126p. illus. of Sedgwick and Warhol’s fascina- Ostensibly a quote-book with tion with her. Full script (or rather dialogue) quotes by Warhol and associates. from the film plus many illustra- Interesting if not necessarily tions. Manages to be both inti- informative. SIGHT AND SOUND mate and tedious at the same Vol.9. No.10. October 1999, pp. 20-22 time. The innovators 1960-1970: the big journal articles wig, by Michael O’Pray WARHOL, Andy The philosophy of Andy Warhol: SIGHT AND SOUND A comprehensive overview of (From A to B and back again). Vol.12. No.3. March 2002, pp. 4-5 Warhol’s filmmaking. This looks Cassell, 1975. 241p at how his films have influenced Rushes: the bigger picture: soup not only independent filmmaking, As the title suggests this is more a dreams, by Edward Lawrenson but Hollywood as well and other series of thoughts and reminis- artists/filmmakers. cences rather than an autobiogra- Written to highlight the Andy phy. Though there seems to be lit- Warhol retrospective that was tle in the way of self-reflection or happening at the Tate Modern that SCREEN awareness, the apparent naivety is year, this piece explores the influ- Vol.38. No.2. Sum 1997, pp.200-204 quite likeable. ence film had on Warhol as a child as can be evidenced in his art and Reviews, by Michael O’Pray filmmaking. Though brief, this provides a concise and straightfor- Beginning by noting the rise in ward account. academic interest in Warhol since his death in the 1980’s O’Pray reviews ‘Pop out: queer Warhol’ by

BFI National Library 25 Jennifer Doyle and Jonathan cultural fascination with Warhol WIDE ANGLE Flatley and ‘Bike boys, drag queens and the Factory through to peo- Vol.7. No.3. 1985, pp. 24-33 and superstars: Avant-Garde, mass ple’s interpretations of Solanas culture and gay identities in the and Harron’s making of the film The producer as author, by David

Film 1960’s’ by Juan A. Suarrez. O’Pray and people’s reactions to it. E. James observes that it is only recently that Warhol’s reputation has been An examination of the different rescued from that of “pathetic CLASSIC IMAGES phases in Warhol’s films (and art) cruiser of the New York glitterati of No.214. April 1993, pp. 38-40 and the contradictions in his the 1970’s” to the extent that the career between “art and business” impact he made in the 1960’s The early films of Andy Warhol, by and how this is translated into the through to his influence on many Wheeler Winston Dixon changing nature of Warhol’s films young artists can now be explored and the viewers response to them properly. The rescuing of Warhol’s A detailed look at Warhol’s early and Warhol’s role as the “author” reputation is, according to O’Pray, career and how he got into film- of the works. This is an interest- through the emergence of ‘Queer making, with particular focus on ing if sometimes un-engaging arti- Experimental theory’, and that a ‘cultural stud- his work with Gerard Malanga. cle. ies’ approach doesn’t necessarily Full of interesting reminiscences give all sides of the story. A review by Malanga, this provides an that offers an interesting debate informative insight into Warhol CITY LIMITS on its subject. and the early Factory-years. 14-20 January 1983, pp. 12-13

Guides: Trashman in retreat, Chris Auty INTERVIEW NATIONAL FILM THEATRE No.4. April 1996, pp. 112-115 PROGRAMMES An interview with Paul Morrissey ce September/October 1989, pp. 11-17 in which he attempts to put the Untitled, by Ingrid Sischy record straight about the history of The films of Andy Warhol and The The Factory and peoples precon- This piece acts as an affectionate Warhol effect, by Michael O’Pray ceptions of that period. Touching Sour remembrance of Andy Warhol. on both the films and the people

+ Sischy talks about Warhol as an A concise and useful introduction (with particular focus on Edie artist, the impact he had, and the to the films of Andy Warhol and Sedgwick) Morrissey’s recollections misjudgements there were about some of the issues surrounding seem to be almost angry in tone. 16 his personality and what it was them. Used to accompany screen- like knowing him. ings of his films as part of a retro- spective, there are also listings of FILMS ILLUSTRATED films and filmmakers that either Vol.2 No.21. March 1973, pp. 12-13 INTERVIEW were an influence or have been No.4. April 1996, pp. 116-118 influenced by Warhol. The Warhol story, by Julian Bamford Andy and Candy, by Richard Pandiscio INDEPENDENT FILM AND VIDEO Though concise, this provides MONTHLY excellent background information A profile of one of Warhol’s super- Vol.11 No.10. Dec 1988, pp. 20-23 to Warhol and his films. stars Candy Darling. Noting that the current popularity with drag Beauty, flesh and the empire of has some resemblance to its past absence: resighting Warhol, by THE FILM JOURNAL heritage, that there is also a cer- Paul Arthur Vol.1 nos..3/4. Autumn/Winter 1972, tain shallowness involved. For pp. 80-91 Pandiscio however, Candy Darling A theoretical discourse on was a real star and Andy Warhol Warhol’s films. Though with some “An innocence, an originality, a was the person that brought this interesting points to make, the clear eye”: a retrospective look at quality out of her. This is an overall effect is somewhat confus- the films D. W. Griffith and Andy almost romantic account of their ing. Warhol, by Rodger Larson friendship and an insight into one of Warhol’s more enigmatic stars. This is the transcript of a series of CINEACTION! screenings and discussions that No.7. December 1986, pp. 52-63 took place in 1972, with Larson INTERVIEW seeing both Griffith and Warhol as No.4. April 1996, pp. 120-121 ‘The superstar story’, by Gloria filmmakers who both had an Berlin and Bryan Bruce impact on “the history of film”. Crazy for Andy, by Alison Powell This is not only an interesting An article highlighting the “super- comparative study, but also an An interview with the director stars” featured in Warhol’s films to exhaustive account of two pio- Mary Harron about her film based various effects. The main focus is neering filmmakers – a highly rec- on the shooting of Andy Warhol by on Edie Sedgwick, Ingrid Superstar, ommended read. Valerie Solanas in 1967, I SHOT Brigid Polk, Ondine, Nico and Viva. ANDY WARHOL. An informative A fascinating look at one of the article that touches on many dif- most important facets of Warhol’s ferent areas, from why there is a films.

BFI National Library 26 FILMMAKER’S NEWSLETTER SIGHT AND SOUND films such as VINYL and SCREEN Vol.5 No.8. June 1972, pp. 24-28 Vol.41. No.3. Sum 1972, pp. 158-161 TEST are much more complex and have more to offer viewers. A Filming Andy Warhol’s “Trash”: an Andy Warhol: iconographer, by good contemporary overview of

Film interview with director Paul Dennis J. Cipnic the Warhol phenomenon and Morrissey, by Prof. F. William includes insights into Edie Howton An essay examining the “signifi- Sedgwick and the filmmaker Jonas cance” of Warhol’s films. Cipnic Mekas. Paul Morrissey collaborated with argues that Warhol’s films are Warhol on many of his films, tak- works that have “expanded the ing on the role of director with bounds of film aesthetics” and Warhol acting as more of a pro- deserve to have a better reputation press articles ducer. Focusing specifically on the than they do. An interesting The first real newspaper coverage making of TRASH, this covers exploration of all aspects of Andy Warhol seems to get in this many interesting aspects of Warhol’s art. country is after Valerie Solanas Warhol’s films, such as, their atti- shot him. The tone of the cover- Experimental tudes towards the performers in age depends on the newspaper, their films; how he saw his role as FILMS AND FILMING ranging from the factual to the the director of the film; sex in the Vol.17. No.7. April 1971, pp. 26-33 gossipy and sensational. film and how they distributed their films. This is an excellent Warhol: part one, by Peter Gidal article for better understanding SUNDAY MIRROR

Guides: the production of Andy Warhol’s Slotting Warhol’s films into differ- 5 June 1968 films including the influence of ent periods, Gidal’s exhaustive Hollywood rather than an exami- examination of Warhol’s films Why I shot Andy..by pop actress ce nation of the aesthetics. starts by comparing the earlier films such as KISS or SLEEP with A report on the first courtroom Warhol’s silkscreens, and then appearance of Valerie Solanas fol- SIGHT AND SOUND moves onto an in-depth appraisal lowing the shooting of Andy Sour Vol.41. No.3.Sum 1972, pp.158-161 of CHELSEA GIRLS. This feature is Warhol. Useful for the quotes

+ essential reading for anyone from her as to why she did it and Andy Warhol: iconographer, by studying Warhol’s films. some of the facts surrounding the Dennis J. Cipnic crime. 16

Cipnic states that the aim of this FILMS AND FILMING article is to show that Warhol’s Vol.17. No.8. May 1971, pp. 65-72 NEWS OF THE WORLD films have “expanded the bounds 9 June 1968 of film aesthetics”. Examining the Warhol: part two, by Peter Gidal extremes of reactions to Warhol as The weird world of Andy Warhol an artist, Cipnic cites that while Focusing on what Gidal sees as the not necessarily original or techni- “fourth period” of Warhol’s film- A fairly salacious article written cally competent, the fundamental making Gidal notes that the films following Warhol’s shooting by importance of the films is in the become feature-length, have Solanas. This focuses on some of people in them; the creation of improved soundtracks and use the women who starred in icons. This essay has many inter- colour. As an example of this peri- Warhol’s films, with the emphasis esting ideas that Cipnic explores, od Gidal examines LONESOME on sex and drugs. Interesting for and contains a useful examination COWBOY. At the end of the article of the link between Warhol’s how Warhol was regarded by the there is a filmography of Warhol’s paintings and his films. tabloid press. films from 1963-1970.

TODAY’S CINEMA FINANCIAL TIMES No.9886. 5 March 1971, p. 16 FILM QUARTERLY 16 July 1969 Vol.20. No.1. Autumn 1966, pp. 35-38 Warhol, by David Heisler Andy’s hardy stuff, by Paul Beyond cinema: notes on some Gardner An amusing article written during films by Andy Warhol, by James a visit by Andy Warhol to London Stoller Ostensibly a review of LONESOME to publicise TRASH. From the tone COWBOY, the focus is on its star of the piece it is obvious that An interesting critique of Warhol’s Viva and the “here-today-gone- though incredibly polite with each films up to that time. Stoller tomorrow” nature of many of other there is little in common starts the article by pointing out Warhol’s stars. between the interviewer and the how unpopular Warhol was with subject. Though Warhol himself many people; the seemingly admits that he isn’t one for talk- unapologetic superficiality in a EVENING STANDARD ing, there are a few revealing time of political and social 9 July 1971 insights to be had here. upheaval. This is then applied to the reception of Warhol’s films. Warhol’s seized film gets an X, by Stoller asserts that while films Alexander Walker such as EMPIRE and EAT are exer- cises in patience and boredom, A brief article on TRASH finally

BFI National Library 27 being given an X-certificate by the that was due to screened on ATV, DAILY EXPRESS BBFC a year after the police had but had been banned by the Court 17 August 1976 seized it. An interesting piece giv- of Appeal after a complaint was ing an insight into the attitudes of brought against it by Norris Andy Warhol: the empty enigma,

Film the establishment at the time and McWhirter. by Paul Dacre for Walker’s own comments on the affair. An interview with Andy Warhol SUNDAY TIMES about his book on Mick Jagger and 21 January 1973 the film BAD. While noting STUDIO INTERNATIONAL Warhol’s cultural importance, the Vol.181 No.930. February 1971 How Andy Warhol’s Trash was tone of Dacre’s article signals a turned into gold, by Paul Eddy and certain unimpressiveness with his Andy Warhol as a filmmaker: a Elkan Allan subject. discussion between Paul Morrissey and Derek Hill, by Derek An extremely useful overview of Hill the above controversies and how INDEPENDENT Experimental Warhol benefits from them. 23 February 1987, p. 14 A very detailed interview with Paul Morrissey about his and Andy Andy Warhol, by Philip Core Warhol’s filmmaking (and the dif- EVENING STANDARD ferences in styles). An excellent 5 February 1973 An obituary of Andy Warhol that feature that touches on many pulls together all the debates sur- Warhol judge speaks of the silent rounding his art, films and life in a Guides: facets of the work, the influences and the reception to them. Also majority, by Gordon Corner very concise manner. Also inter- worth noting for Morrissey’s very esting for an insight into some of ce outspoken (for the times) anti- A report on the lifting of a ban the influences on Warhol’s art. drug stance, which goes against that had been imposed on the what most people think The screening of a documentary about Factory was emblematic of. Andy Warhol. Interesting for the TIMES Sour rulings of the Law Lords as an 23 February 1987, p. 12

+ indicator of the changing attitudes DAILY TELEGRAPH of the establishment as to the Mr Andy Warhol: art for publicity’s 5 February 1971 more radical or open aspects of sake 16 society and what was permissible “But the people are really beauti- to be broadcast. A slightly critical obituary of ful”, by Sally Beauman Warhol, that seems to on the one hand, acknowledge, the signifi- An account of Warhol making his DAILY MIRROR cance of Warhol’s art to popular first film in Europe. This article 28 March 1973 culture while at the same decrying highlights the move by Warhol it. Faint praise is given with this (and Paul Morrissey) into making What a bore appraisal: “[Warhol] left behind what they considered more main- him some of the most memorable stream films, in order to attract “The Mirror readers’ verdict on the and characteristic images of a con- bigger audiences. Includes a film they tried to ban”. fused and possibly shallow and detailed profile of Warhol with superficial era”. many observations about the man and his working environment. ESQUIRE March 1974 VARIETY 25 February 1987, p. 6, 458 SUNDAY TIMES Andy’s children: they die young, 4 September 1971 by Dotson Rader Pop Art leader and filmmaker Andy Warhol dies after surgery, by In the flesh, by Dilys Powell A highly critical account of Warhol Lawrence Cohn and his relationships with the Powell talks with Warhol primarily people who made up his “super- Focusing primarily on his films about FLESH, but also about other stars” over various periods of time. and collaborations with Paul aspects of his filmmaking. Though Rader’s contention is that Warhol Morrissey, this looks at Warhol’s as usual reticent in interviews, used these troubled youths and influences and contribution to the Powell does manage to bring some then abandoned them to self- underground filmmaking boom of useful comments out of Warhol destruct on their own. A devastat- the 1960’s, before entering the and her critiques of the film are ingly harsh profile, but a thought commercial mainstream with good as well. provoking read nonetheless and CHELSEA GIRLS and the steady essential for anyone writing about move away from experimentation. Warhol’s “superstars”. Various – January/February 1973

Coverage of outrage caused by the screening of clips from TRASH on the BBC’s FILM 73 and a documen- tary about Warhol and The Factory

BFI National Library 28 ART MONTHLY SUNDAY CORRESPONDENT INDEPENDENT April 1987, pp. 33-34 25 February 1990, p. 45 Section 2. 12 September 1996, pp. 6-7

Moving pictures: Warhol in memo- When he was a she – except for So what did Andy do next?, by

Film riam at the Co-op, by Kevin Little Joe Ryan Gilbey Gough-Yates An interesting ‘Where are they Going against the consensus that To tie-in with a season of Warhol now?’ type feature on the people views the Paul Morrissey directed, screenings at London Film Co-op, immortalised in Lou Reed’s song ‘ Andy Warhol films as being not as Gough-Yates observes that usually Walk on the wild side’, many of good as the Warhol-directed films, Warhol’s films are “…more dis- whom were Factory superstars: Gilbey praises Morrissey for bring- cussed than seen and were always Jackie Curtis, Candy Darling, Holly ing a narrative structure to something of an endurance test”. Woodlawn and Joe Dallesandro. Warhol’s films and secondly, Joe He also makes some interesting Dallesandro to star in them. comments about Warhol’s director, Paul Morrissey. ART MONTHLY Experimental September 1990, p. 8, 10-12 DAILY TELEGRAPH 16 November 1996, p. 32-35, 37-39, 41 VILLAGE VOICE Sitting and listening: the films of 17 May 1988, p. 63, 68 Andy Warhol, by Deke Dusinberre Broken lives, by Mick Brown

Bon voyeur: Andy Warhol’s silver Beginning by observing that Describing them as “…outcast, egocentric, spaced-out wannabes”

Guides: screen, by J. Hoberman Warhol’s reputation as “the best- known underground film maker” this article profiles three of Andy Hoberman says of Andy Warhol rested on films that were not in Warhol’s superstars: Joe ce “reinvention was everything”. In circulation and had been seen by Dallesandro, Viva and Holly this feature he follows Warhol’s barely a handful of people. He Woodlawn. All three have differ- progression as a filmmaker by also notes that, Warhol as a film- ent interpretations of Andy’s examining KISS, BLOW JOB, BEAUTY maker was the exact opposite of behaviour towards them, and they Sour #2, I, A MAN and FOUR STAR. Stan Brakhage. Dusinberre, exam- make this article both interesting

+ ines films such as EAT and BEAU- and at times quite poignant. TY #2, and questions if the films VILLAGE VOICE have a lasting legacy or not. 16 17 May 1988, p.68 GUARDIAN VILLAGE VOICE 21 July 2001, p. 4 The Warhol file, by Marcia Kramer 5 April 1994, p. 57, 62, 71 My 15 minutes with Andy, by An article on the files the FBI Warhol: the films, by J. Hoberman Mary Woronov began to keep on Andy Warhol and and Amy Taubin the people he associated with An account by Mary Woronov of around the time of the making of This feature contains two pieces what it was like to feature in one LONESOME COWBOYS in order to written firstly by J. Hoberman and of Andy Warhol’s SCREEN TESTS. try and bring an obscenity charge the second by Amy Taubin. against him. The dry-tone of the Hoberman, looks and compares excerpts from the FBI files make two of Warhol’s Edie Sedgewick INDEPENDENT for entertaining reading. films POOR LITTLE RICH GIRL and 27 July 2001, p. 5 LUPE and cites an earlier American filmmaker, Oscar Michaeux as set- Warhol captures paranoia of the INDEPENDENT ting a precedent for Warhol’s style not-yet-famous, by John Walsh 14 September 1989, p. 15 of filmmaking. Amy Taubin’s piece is more of a behind-the-scenes Walsh offers a more critical view Famous for fifteen frames, by look at The Factory, and asks of the SCREEN TESTS, than Christopher Cook whether Andy Warhol intended his Woronov, describing them as faces films to be art or business. “caught in their brief, mono- Noting that to view Warhol’s earli- chrome purgatory”. er films such as EMPIRE or SLEEP requires “…an act of faith” and that his later films were more akin FINANCIAL TIMES (WEEKEND) to voyeuristic documentaries, Cook 4 August 2001, p. VI gives a concise overview of Warhol’s filmmaking career and Warhol’s favourite girl on film, by the how the theme of transforma- Lynn MacRitchie tion is paramount in them. A brief look at OUTER AND INNER SPACE and its star, Edie Sedgewick.

BFI National Library 29