Module 6

 Reflection of filmmaker presentations:

Viking Eggling

Well, I went into information overload when I dove into my Eggeling research. I was started early enough to be able to find a few books when he was mentioned extensively, and also found several very helpful websites. The greatest find was a PDF version of O’Konor’s book devoted exclusively to Eggeling. Her research was one that all the other sources mentioned, so it was like striking gold. While at first glance, Eggeling’s work may not be impressive, but put in the context of the time period, state of technology, and other factors, it’s astounding. I’m also intrigued by his commitment (obsession?) with his work. One source even stated that his living conditions and ultimately his health were so poor because he only made time to draw and create his film. He made the ultimate sacrifice for his art.

Jodie Mack

What a treat to come across her work. I wish that I would have had time to play more of her films, especially Yard Work is Hard Work, a film that clearly showcases her background in musical theater. The Grand Bizarre was also amazing, not only as a final product, but also what it represents. This animated documentary represents five years of her life and the globalization of language and culture, specifically textiles and language. One of the things I admire most about Jodie’s work is the creative role that music has in each of her films, and I love that she makes it herself. She has so much to say about the world, but she does it in a fun, quirky way.

 

Stan Brakhage

When I saw that his inspiration was Sergei Eisenstein, I remembered part of my research that compared Eggeling to Eisenstein, stating that “Sergei  Eisenstein’s  quest  for  a  language  of  montage  in  photographic  cinema  is  strikingly  similar  to  Viking  Eggeling’s  quest  for  a  dynamic  language  of  visual  symbols  for  painting,  scroll  and  abstract  animation.”  I think that Brakhage probably took a lot of inspiration from both of these filmmakers. In particular, Brakhage’s choice to keep most of his film silent was perhaps an homage to the founder(s) of Absolute Film. After all, if the two materials needed are light and time, then sound is simply unnecessary. Additionally, the concept of the “untutored eye” really intrigues me. I love idea of trying to see things as they really are instead of seeing them through the myriad of filters we have in our brains ie. preconceived ideas, background, context, etc.

Ja'Tovia Gary

I interpret her aim to “unmask power and its influence on how we perceive and formulate reality” seems very similar to Brakhage’s aim of acquiring an “untutored eye.” Both Brakhage and Gary want to “liberate audiences.” The film trailer for The Giverny Document has some of the same qualities of Mothlight, and I love that she used a variety of techniques in making it. Love the Nina Simone performance, for example, but on the other hand, the voice of the mother screaming for her child is haunting. Like most experimental filmmakers, she creates an experience for the viewer without shouting (figuratively) the statement she’s trying to make.

 

Maya Deren

It was fascinating to hear about Deren’s academics and school history. I had no idea she was so intelligent. And that she wanted to be a writer. How cool! That piece of info reminded me of what I learned about Jodie Mack and how she “caught the bug” (her words) to make experimental films. Furthermore, dance is another connection between them.  Like I mentioned in my presentation, Jodie believes that knowing how to dance is an important prerequisite to experimental filmmaking and Maya Deren became interested in modern dance and toured with Katherine Dunham. It seems that most filmmakers in this genre have similar backgrounds when it pertains to art, writing, and music.

Madeleine Hunt-Ehrlich

What I love about experimental filmmakers is that they have themes that are important to them, and they use their films to share an abstract sort of idea about these themes. Their art (or presentation) of the theme has varying degrees of subtlety, but being abstract they leave much of the interpretation up to the viewer. Madeleine Hunt-Ehrlich’s Spit on the Broom obviously speaks to the experiences of Black women and the Order of the Tents. (and gets me to thinking about what idea is important enough for me to make a film about)  Her metaphor comparing fire to films is also profound. I feel that experimental films, more so than narrative, are the spark and excuse for a conversation. Perhaps docs have a comparable effect in that they shine a light on a topic and get people talking.