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- W1973092799 abstract "In a recent article in Jackie Hatfield's Experimental Film and Video, filmmaker–theorist Grahame Weinbren evokes the problematic nature of avant-garde film theory and criticism by drawing attention to the ‘power of a particular book’.1 Published in 1974, this book – P. Adams Sitney's Visionary Film2 – ‘changed the notion of independent filmmaking’ and, over thirty years later, ‘still hangs over the field’.3 Indeed, no other survey of avant-garde filmmaking, US or otherwise, has achieved such widespread acclaim, and slightly earlier studies of the same subject by Parker Tyler and Sheldon Renan have subsequently been overshadowed by Sitney's monolith.4 The secret to Visionary Film's enduring success is partly its division of US avant-garde filmmaking into neatly distinct subgenres representing key trends in its complex development. The new vocabulary of terms, such as ‘mythopoeic’, ‘trance’, ‘lyrical’ and ‘structural’ film, not only allowed Sitney to concentrate on what he saw as the major themes running through the history of US independent cinema, but also went some way towards making the area much more accessible to film students and scholars alike. So whilst Sitney's system has since been heavily criticized for, as Weinbren points out, ‘erecting fences between filmmakers who belong in the same yard, and herding together some who ought to be kept fields apart’,5 he also established a tradition of formal engagement and aesthetic appreciation, the reverberations of which were felt way beyond his admittedly restricted US canon." @default.
- W1973092799 created "2016-06-24" @default.
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- W1973092799 date "2009-09-01" @default.
- W1973092799 modified "2023-09-26" @default.
- W1973092799 title "Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson" @default.
- W1973092799 doi "https://doi.org/10.1093/screen/hjp016" @default.
- W1973092799 hasPublicationYear "2009" @default.
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