Amateur and avant-garde film

It occurred to me that the work I did during my MA in Film Studies and Archiving (University of East Anglia 2001-2) might be of interest to someone.

My reason for undertaking the MA derived from my interest in amateur and avant-garde filmmaking. During 1998-2001, I lived in Japan and spent much of my spare time (and money), shooting Super 8mm and 16mm film (mainly landscapes and abstractions) and exhibiting international exchanges of European, North American and Japanese experimental film and video. I’ve never been interested in filmmaking as a career, but thought that working in film preservation and archiving would allow me to make a living out of a love for non-commercial filmmaking. With that in mind, here are the outputs of my MA.

Amateur Filmmaking During World War II

In my first paper for the MA, I discuss the dilemma of amateur filmmaking during war time, based on a study of original books and magazines from the 1930s and 1940s. In the second part of the paper, I draw heavily on my extended interviews with Dick Brandon, a soldier and amateur filmmaker during WWII. The paper lacks any critical theoretical method but offers a useful study of primary sources.

Amateur filmmaking during WWII

In my second paper for the MA, I discuss the development of amateur films within the context of early tourism. Specifically, I examine the broader development of commercial image making since the 18th c. and show how amateur travel films were simultaneously influenced by commercial, popular tourism and and its relationship with landscape painting and photography. I argue that “representationally, they add little to a notion of Englishness rooted in the landscape that wasn’t already well established and I am much more inclined to see them as commercial products which benefited from and contributed towards forms of economic and cultural consumerism.” I try to show how the production of amateur travel films was tied to the production of mass tourism, both of which are based on consumerism and the consumption of the immaterial. The paper draws on critical theory, secondary historical sources and my primary analysis of films held by the East Anglia Film Archive. Looking back at this paper now, I think that with the benefit of peer-review, this paper could be turned into a published journal article.

Site/Sight: Landscape and the Development of the Tourist’s Gaze in Early Travel Films

An Ecology of Images

Our end of year project was to make a short documentary which related in some way to the themes of archiving, preservation, conservation, etc. Some people made nice, straightforward documentaries about a given subject. I had a bunch of 16mm and 8mm footage that I shot during a trip across the USA (2000) and living in Japan (1998-2001) and used that to make a short film about history and memory.

I was heavily influenced by the narrative style of Chris Marker’s film, ‘Sans Soleil’ (my favourite film). The title is from Susan Sontag’s ‘On Photography’. I was reading John Berger’s ‘Ways of Seeing’ at the time, too…

The script is a blend of my own thinking at the time but also paraphrases Marker, Berger and Sontag considerably. The music uses bits and pieces by John Cage.

I was very proud of this when I finished it. Eight years on, I still quite like it.

Preserving the Hand Painted Films of Margaret Tait

In my dissertation, I discuss a small amount of the work of Margaret Tait. The Introduction offers a personal discussion on the profession of Archiving which I revisit in my conclusion. Section One provides a general overview of Margaret Tait’s life and influences. This brief biographical information serves as a background for the more substantial technical discussion in Section Two.

Though I do enjoy Tait’s films and find her work compelling, I should emphasise that I am not concerned with providing a critique of Margaret Tait’s films nor a complete overview of her life and work. I deem that to be a quite different paper and one I am not interested in writing. My main purpose here is to trace the technical developments Tait made in her filmmaking and show how an understanding of her practices can help in the restoration and preservation of her films. I hope this paper also demonstrates that the biographical is inseparable from the technical and for the Archivist, these two approaches to Tait’s work are again inseparable from the ethical and philosophical dimensions of the idea of permanence.

Preserving the Hand Painted Films of Margaret Tait