UBC Theses and Dissertations

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UBC Theses and Dissertations

Structural awareness : three films Braidwood, Thomas Edward 1974-12-31

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STRUCTURAL  AWARENESS: .  THOMAS B.A.,  A  EDWARD  THE  SUBMITTED  BRAIDWOOD  B r i t i s h  IN  REQUIREMENTS  the  C o l u m b i a ,  PARTIAL FOR  MASTER  i n  FILMS  by  U n i v e r s i t y o f  THESIS  THREE  OF  1971  FULFILMENT  THE  DEGREE  OF  OF  ARTS  Departments of  THEATRE and CREATIVE  We  a c c e p t  r e q u i r e d  THE  t h i s  WRITING  t h e s i s  as  conforming  t o  s t a n d a r d  UNIVERSITY  OF  BRITISH  September,  1974  COLUMBIA  the  In p r e s e n t i n g an  this  thesis in partial  advanced degree at the  the  Library  University  s h a l l make i t f r e e l y  f u l f i l m e n t of the  of B r i t i s h Columbia, I agree  a v a i l a b l e f o r r e f e r e n c e and  I f u r t h e r agree t h a t p e r m i s s i o n f o r extensive for  s c h o l a r l y p u r p o s e s may  by h i s r e p r e s e n t a t i v e s .  be  thesis for financial  written  permission.  Department of  gain  Theatre  The U n i v e r s i t y o f B r i t i s h V a n c o u v e r 8, C a n a d a  Date  g r a n t e d by  September,  the  Head o f my  Columbia  1974»  s h a l l not  be  that  thesis  Department  copying or  for  study.  copying of t h i s  I t i s understood that  of t h i s  requirements  or  publication  allowed without  my  - i -  ABSTRACT  The concerned They  f i l m s  w i t h  serve  as  a t t i t u d e s  the  d i s c u s s e d theory  v i s u a l  and  my  the  problem  commercial  of  y e a r s  s e n s i b i l i t i e s  i n  For  have  m y s e l f ,  herent  i n  I  the  i n t e r e s t e d  The take  each  i n  method  f i l m  and  the  IMAGE,  the  a c t u a l  IMAGE,  my  of and  g i v i n g  work.  of  to  p l a c e  to  t h a t  i n t o o c c u r  the  than  of  i n t o  the  p e r s o n a l an  p r o d u c t i o n . been  I  have  been  has  been  to  each and  f i l m ;  t h i r d : i n  chosen  and  h i s  second, POST-  r e l a t i o n  m o t i v a t i o n s ,  a r t i s t  i n -  c a t e g o r i e s :  p r o d u c t was  f i l m  r e l a t i o n s h i p .  elements  paper  b e h i n d f i l m ;  of  the  message.  three  approach  p e r s o n a l  has  image.  t h i s  completed  w i t h i n  those  the  i n  my  f i l m  concern  c e l l u l o i d  f o r c e ( s )  T h i s the  i t  f i l m - m a k i n g .  embodying of  are  e x p e r i m e n t a t i o n  d e f i n e  approach  s t r u c t u r e  concept.  i n s i g h t  changes  medium  m o t i v a t i n g  r e a c t i o n  o r i g i n a l  the  major  pages  a u d i e n c e / a r t i s t  to  the  of  f i e l d  v e r s u s  the  attempted of  the  my  f o r m u l a to  f o l l o w i n g  essays  i n  study  r e g a r d s  PRE-IMAGE,  the  of  the  a e s t h e t i c s  a n a l y t i c a l  s t r u c t u r e  more  and  development  Throughout  i n  i n  the  to hope  a t t i t u d e s d e v e l o p i n g  F i l m a e s t h e t i c s . I  would  to I  I  say  from  have  t h a t  p e r s o n a l r e f e r  r e v o l v e s  not  and  t h a t  lems  f o r  audience  my  t h a t  the  i s ,  I  of  f i n a l  r e a l i s e A  to  the  but  audience a t t i t u d e s  i m p o s s i b l e does  not  t o  gauge  t r i e s cinema tude the  to  t r i e s  p u b l i c ,  a l l  of  e d i f y  not  to  speak  a l s o  of  d u r i n g  a l i e n a t i o n  a c t u a l  myself)  which  i s to  c r e a t o r  as  p r o d u c t i o n  t h a t  i s  new  t h a t  a l l  a  i s  p r o b the  i n c l u s i v e  r e c o r d to  i t  f u l f i l l i n g  develop  not as  i s  most  i m p o r t a n t i s  of  the  not  o n l y  changing  concerned.  i n v o l v e d the  r e f l e c t  too  a l i e n a t i o n  serves  i t s  presuppose  and  f a r  to  time  always  I  f i l m  f i l m  a e s t h e t i c s .  When  serves  f i n a l  a l s o  of  merely  presumes  the  own  concepts  (for  becomes  f i n i s h e d  Because  F i l m  What  o n l y  my  argumentative  a l i e n a t i o n  but  f i l m - m a k i n g  p r o d u c t  a r t i s t .  must  d i s c o v e r e d  of  from  s e l f - c r i t i c i s m  have  d e f i n i t i o n .  i s  the  body  c l a r i f y  moved  a u d i e n c e ,  to  i n  s o c i a l  has  to  o n l y  p r o c e s s  an  work  o n l y  l a r g e  c o n c e p t s .  What a c t u a l  t r i e d  a  involvement  m y s e l f ,  the  around  a  those  v i c e - v e r s a .  and  a c t u a l  p r o d u c t i o n ,  s e n s i b i l i t i e s  of  v i e w e r ' s  t a s t e s .  t a s t e s .  U s u a l l y ,  c o n d i t i o n much  i n  i s  an At  i t  a u d i e n c e . b e s t  i t  commercial  t a s t e s .  T h i s  type  of  f a l s e .  F i l m  s h o u l d  a t t i serve  A l t h o u g h are  q u i t e  most  d i f f e r e n t ,  common  d e f i n i n g  an  be  and  i n i n  order t h i s  e x p e r i e n c e  audience. f i l m s ,  i n  t h a t  case  i t  must  of  the  It  to  t h i s  the  e x p e r i e n c e  hope and  of the  common  r e l a t i o n i s  one  and  can  f i l m ,  terms i s  we  i s  end  and  t h a t  t e a c h i n g  from  i n  the  of  the  have  i s  a b s o l u t e l y  e x p e r i e n c e . an  and the  e x p e r i e n c e ,  the  awareness.  i s  to  d e f i n e d terms  c o n t i n u e d  both  not  t h e r e f o r e  e x p e r i e n c e  scope  myself  e x p e r i e n c e  an  w i t h i n I  to  and  r e s p e c t  fundamentally  honest  a r t i s t  medium  the  i n d i v i d u a l i t y  mutual  If  The  s t r u c t u r e ,  arrangement  l e a r n  h e r e i n  t h e m a t i c s .  of  of  awareness. be  d i s c u s s e d  c o n c e p t u a l  mutual  e q u a l i t y  develops  e n l i g h t e n i n g the  of  of  the  a  f i l m s  share  t h a t  and  i s  the  do  r e l a t i o n s h i p  P a r t i c i p a t i o n  w i t h i n  of  i s  s t r u c t u r e  u n d e r s t a n d i n g  A r t ,  they  these  This  necessary  and  of  of  audience. mass.  v i s u a l l y ,  of  the  making  awareness  -iv TABLE  OF  CONTENTS  PAGE  INTRODUCTION  1  PRE-IMAGE  2  BACKBONE  3  WILLOW  4  WIND  FROM  THE  WEST  5  IMAGE  8  BACKBONE  9  WILLOW WIND  FROM  11 THE  WEST  12  POST-IMAGE  13  BACKBONE  14  WILLOW  16  WIND  FROM  THE  FILMOGRAPHY  WEST  17 19  -1-  INTRODUCTION  The r e p r e s e n t The  b u l k  and  money  a of  three  body the  f i l m s  of  work  work,  encompasses  p a r a t i o n  r e s u l t i n g  t h a t  the  m a t e r i a l  upon  r e q u e s t  to  the  i n (the  d i s c u s s e d spread  the many the  f i l m s hours f i n a l  f i l m s )  author ~  i s  i n  a c r o s s  the a  t h r e e - y e a r  t h e m s e l v e s , of  f o l l o w i n g  devoted  p r o d u c t s . a v a i l a b l e  i n  b o t h  care It  i s  on  a  and  pages p e r i o d . time p r e -  u n d e r s t o o d l o a n  '  b a s i s  -2-  6  PRE-IMAGE  - 3 -  BACKBONE  The r e a c t i o n a  book  to  source  the  book,  concerned  w i t h  d u r i n g  the  The  r e a l l y  went  war.  beyond  A t w i t h  f i l m  b r u t a l f o r  a  I  upon  cinema  I how  BACKBONE  "The the book  P a i n t e d l i f e  time  to  I  v i s u a l  an  the  from  my  J e r r y boy  K o s i n s k i ,  i n  h o r r o r s  Europe d e s c r i b e d  to  c o u l d  p l a y  p e c i a l l y  the  p o s s i b l e  between  g i v e n  audience  and  self-awareness  of  a  and  the  time  p o i n t s  how  r e s u l t  i n t e r e s t e d  e x p l o r e  awareness  d e c i d i n g  the It  the  i n v o l v e d f i l m  never  concept  i s  a  l e t s  of  up  p a r t i c -  l e v e l .  I  d i v i d u a l s .  by  orphan  me,  d e s t r o y s  images.  i t s  B i r d " , an  As  audience  e x t r e m e l y  wanted  m a i n l y  s e n s i b i l i t i e s .  on  one  was  become.  l i t e r a l l y  v i s u a l l y  of  stunned  It  was  came  comprehension.  same  wanted  moment.  i p a t o r y  and  the  a t t a c k  f o r  the  concept  m a n i p u l a t e  meaning  and i n  i n  the  t i m e , b o t h  as  of  i n  time  time  degree  of  e s -  change  r e l a t i o n  audience  w i t h  and  of  time  to  and  an i n -  -4-  WILLOW  w i t h  t h e  WILLOW  came  problems  o f  i n t e r e s t e d s i n g u l a r so  t h a t  of  the  meaning the much  i n  the  image an  problems more  o f  o f  and w o r k i n g  b u t  became  a c t u a l  i d e a  audience  f i l m ,  about  might  a l s o  the  the  p r o c e s s  p e r c e p t i o n  t a n g i b l e  t o  b o t h  a t  a  time  p r o c e s s  when  i n  event  o f  the  I t  making eye  concerned became  t a k i n g  o n l y  f i l m  i n  t h e  p r o c e s s .  p r o c e s s  t h e  o f  a  development,  attempted  the  and  I  i t s  n o t  t h e  i t s e l f . by  t h e  t h r o u g h  p a r t i c i p a t e  was  f i l m .  c o n s t r u c t i o n , s l o w l y  I  b r a i n .  event The  t o  d i s c u s s  o f  p e r c e i v i n g  -5-  WIND  FROM  s o u r c e s :  THE  WEST  The  b a s i s  one,  p h o t o g r a p h i c of  B r i t i s h  t h r e e ,  Luc  ment  of  Godard,  e s s e n t i a l  owners  a  at  l e a s t  as  one of  the  past  and  o n e ' s  capable l e a r n i n g  not  to  a l l o w  a  i n  a  o f ,  that the one  he  p r o c e s s .  I  the  of  mind  and  a  w i t h  p a s t ,  c o n t i n u i t y to  can  r e f l e c t If  a  i n  the  what  me,  of  o r  the  i n c o r p o r a t e  i s  the  i s i t  a i s  not  w i t h  p a s s i n g .  no  m a t t e r  f u t u r e .  It  c o n t i n u i t y  changes  p e r s o n  the  album  o b s e s s i o n  c o n c e p t u a l  upon  An  t h a t  arrangement  p r e s e n t  the  t h a t  p a s t  i s  by  r e c o r d s  There  an  and  e v o l v e -  i n  a t t i t u d e s  so  a  s p i r i t u a l i s m .  b e i n g .  more  of  EAST,  albums,  t i m e .  three  i n d i a n s  c u l t u r a l  i n t e r e s t e d  of  l i n e a r  THE  e a s t e r n  and  p e r i o d  concept  members;  FROM the  to  thoughts  r e c o r d i n g  as  w i t h  from  n a t i v e  o l d e r  p h o t o g r a p h i c  g i v e n  comes  the  WIND  became  f a s c i n a t e d  environment.  enough  case  concern  e x i s t s  the  opposed  c o n c e p t u a l l y ,  speaks  f i l m  opposed  at  w i t h  e n t i t l e d  as  WEST,  fundamental  concern  b e h i n d  s t a t e  than  Time  aspect  to  the  concerned  myth  f i r s t  i n t e r e s t  i n f o r m a t i o n  r e a l i t y  work  c o n t a i n i n g  past  tremendous  f i l m  l y i n g  adhered  r e f l e c t s  l o s t ,  the  i d e a  p a s t  a  a  THE  p a r t i c u l a r l y  a  western  In  the  to  FROM  w i t h  two,  C o l u m b i a ,  the  WIND  concern  album;  r e a c t i o n  Jean  of  a  f o r  a r t . b o t h  f o r t u n a t e p a s t  as  a  i s  of  t h i s time  Images w i t h i n enough p a r t  what  of  of o n e s e l f and the  - 6 -  concerned My  Change  and  w i t h .  Change  memories  the  of  been  l i v i n g  so  my  i n  s i t u a t i o n s  s u r r e n d e r o u t s i d e  l i v i n g  to  not  i s  f i l m  such  a l s o  the —  v e r y  h i s t o r i c a l  takes  w i t h i n  not  to  much  The  modern l o s s  t h i s .  adapt same  t o  the  many new  time  no  problem  l o n g e r  concerned the  the  w i t h  of  of  o f  never  the  f i l m  to  cope  modern  man,  to  imposed  of  the  f i l m the  development  f i l m  i t s e l f  as  modern  man  a  had  w i l l i n g  s i g h t  b e -  t h e i r  p a s t  by own  and  e x i s t .  Taken  to  are  I  me  breed  people by  was  taught  a  s t r u c t u r e s  l o s i n g  c o n s i d e r i n g  and  a  I  b e i n g .  p l a c e . upon  m a n i p u l a t e d  t h a t  had  images  of  what  and  i d e n t i t y  The  i n a b i l i t y and  man  of  dichotomy.  j u s t  man.  of  i s  mind  change  again  c l a s h e s  d i s c u s s e d  s p o n s i b i l i t y  me  of  which  the  t h a t  s t a t e  i n d i a n s  e x t e n t t o  a  movement  n a t i v e  b e f o r e —  i t s  the  e f f e c t s  an  at  l e d  c u l t u r a l  (archetypes)  w i t h  me  o b j e c t i v e s  which  b o t h  p a s t .  w i s h i n g  T h i s  l o g i c a l  the  awareness  f o r  i s  c o n s t r u c t e d  c u l t u r e ,  c u l t u r a l  the  to  meaning,  w i t h  d e p r e s s i o n  m a n i p u l a t e d  EAST,  by  apparent  r e f l e c t w i t h  speed  p o l a r i s e d  people  to  working  i n c r e d i b l e  came  i t s  a  step  concept but  much  WIND  i d e a of  FROM  of  i d e o -  extremes  f u r t h e r  the  and  r e -  more  THE  i t s  i m p o r t a n t l y  -7-  These l e d  t o  WIND  m o r a l i t y of  h i s  q u e s t ,  FROM  and  own  i n f l u e n c e s , THE  WEST,  a  r e s p o n s i b i l i t i e s  environment.  t r y i n g  a l t h o u g h  t o  d i s c o v e r  The t h e  f i l m o f f i l m  never  t h a t a  west i s  a  f u l l y  r e f l e c t s c o a s t  t h e  a r t i s t  p e r s o n a l  p h i l o s o p h i c a l  r e a l i s e d , a t t i t u d e s , i n  s e a r c h ,  e f f e c t s  o f  terms a change.  -8-  IMAGE  -9-  BACKBONE  S t r u c t u r a l l y , s e c t i o n s . i n g a  of  a  The  f i r s t  s o l d i e r  documented  b u i l d i n g s ,  the  second,  but  throughout w i t h  the  a  the  s t r e t c h e d remains  of  a  arms.  s t a n d i n g  a l s o  s t a n d i n g  then  breaks  i n  and  The i n  of  frame shadow  f i l m  and  i s  a  decaying c h i l d .  sound  the  of  the  f r e e z e s r e a c h i n g  fades  the  f r e e z e o u t .  of  woman  out  and  image  gun  enormous  second the a  i n  sounds  gun  e x -  c o r r e s p o n d s  v i c t o r i o u s a l s o  w i t h  a a  t r o o p s  stands  s t i l l )  f o r  and  p o s i t i o n -  towards  h o l d s  an  w h i l e  s o l d i e r s  (becomes  two  a  change  image A  h a l f  l e n g t h  s l o w l y  a  from  a g a i n  i n  M i l a n .  The  o n l y  over  second  and  c a s i n g  are  approaches  shadow. the  s h e l l  and  the  s e c t i o n  and  a  length)  mouth.  turns  animals  of  Mary,  screaming  open  s t r e e t s ,  group  of  arm  over  s t r e e t s  statue  h i s  man's  the  farm  a  a  c o n s i s t -  r a i s i n g  u n t i l  down  l o o p ,  segments  i n  d e a t h ,  shots  i s  loop  t h i r d  of  of  t h r e e  l o n g e s t  h a l f  second  s e r i e s  i n t o  the  the  The w a l k i n g  repeated  d i v i d e d  and  e x p u l s i o n Both  i s a  i n  s e c t i o n  crescendo  h a l f  some  s o l d i e r  gun.  are  m u s i c a l  p l o s i o n  a  the  a n t i - a i r c r a f t  (a  sequence  second  of  i s  i n s t a n t  tombstones,  f i r s t  l e n g t h  s e c t i o n the  b u r i a l  The l o o p ,  at  BACKBONE  i n  o u t and  she  s o l d i e r m i n u t e ,  -10-  A l l b e g i n n i n g , a l l  was  o p t i c a l l y  the  f o o t a g e ,  taken  from  r e p r i n t e d  except  f o r  documented  f o r  the  b e s t  a war  few  scenes  f o o t a g e .  p o s s i b l e  i n  the  It  was  r e p r o d u c t i o n .  - 1 1 -  WILLOW  The from the  a  g r a p h i c  t u r n  view  o f  o f the  harbour. of  i t .  t i n u e d f o r t y  image  drawing  t h e  Using  t o  I  x e r o x  t o  v e r t i c a l  cause l i n e s ,  then  f i l m e d  t h e  by  s e r i e s  o f  a  p e r i o d over The  o f  t h e sound  t i m e , course t r a c k  o f  an  t h e  proceeded each  t o  x e r o x  o f  break  reverse  v e r y o f  so  l i t t l e  t h e  f i l m  c o n s i s t e d  o f  t h a t change t h e a  o f  a  backed  a t  l o n g  by  a  x e r o x  copy  was  made  the  f i r s t  copy  and  c o n -  t o  as  f a r  x e r o x  down  p r o c e s s  came  Brunswick,  c o n s i s t e d  t h e  becoming  d i s s o l v e s ,  New  WILLOW  a  copy  e v e n t u a l l y i n  i n  f o r  b u i l d i n g s  g r a p h i c  o p t i c s  image  town  o l d  s u c c e s s i v e The  the  t o  b a s i s  p i c t u r e  w i t h  o r i g i n a l  the  o l d  The  d o t t e d  g e n e r a t i o n s .  seemed  formed  c e n t u r y .  town,  Then,  that  as  about  machinery  i n t o  a  s e r i e s  u n r e c o g n i s a b l e . and  connected  seemingly, took  image summer  over  p l a c e ,  c o m p l e t e l y b r e e z e .  the a  o f I images long  a l t h o u g h m a n i f e s t e d .  -12-  WIND  FROM  connected c o l o u r , j e c t e d g i v e  taken  v e r y  o l d  a  the t o  an  a  sound  r e t r e a t s passes  by  from  o f  sounds c e r t a i n  I n d i a n In  p e r s o n a l  a  j e t  a  f o c a l  i n  f i n a l -  a  becoming  screen  t o  a c r o s s  the  screen  and  some  p s y c h o l o g i c a l o b v i o u s .  I n d i a n  i m p l i c a t i o n s  o f  e n l a r g e d  and  o f  the  f i l m  The  o l d  o f  p r o j e c t i o n  i t  i n  death  i s  the and  o f  a  and  woman  beam,  f i n a l  kept  b e i n g  h o r s e s ,  an  The  p l a y i n g  t o  images  p r o j e c t i o n  d i s a p p e a r s :  a g i n g ,  p r o -  f i l m  common  decay,  the a  i n  c o n s i s t e d  The  most  a g a i n s t  d a r k n e s s .  c h i l d r e n  m a t e r i a l ,  soundtrack  overhead.  the  t h e  images  rephotographed  t h e  s t a t e o f  s t i l l  a f t e r n o o n .  images,  shots  screams  and  The  c o n t r a s t e d  o f  A l l  s l i d e s  summer  from  w i t h  s e r i e s  b a c k s c r e e n  o f  metamorphosis o f  a  d i s s o l v e s .  v i l l a g e the  o f  p a i n t i n g s .  o l d woman,  plows.  begins  c o n s i s t s  t e x t u r e d  t e x t u r e  o f  o f  town  f i l m  onto  t h a t  the  The  throughout  r e t u r n i n g  o l d  WEST  was  the  s i m p l y  THE  as beam  image t h e  s t r e e t . b i r t h  o l d The are  -13-  POST  IMAGE  -14-  BACKBONE  Image c o u l d  an  l e v e l s they  audience  of  go?  i t s e l f .  not  r e a l l y they  image  meaning f i l m  Would  A  look  f o r  i n  s t i l l  t r y i n g  ness  f i l m images  the  g u i s e  f o r  m y s e l f "  The  to  of  h i s  d i d  be  r e v o l v e d  i n  a  k i n d  of  b e g i n n i n g  and  no  end.  c o n n e c t i o n s ,  but  they  was  the  s e l f - e v i d e n t . of  a t t i t u d e . R e v u l s i o n  f o r m u l a  v e r s u s  "I  to the  what  know  do  o u t -  e x i s t e d ?  feelings.,  not  they  h i s  p a r t i -  angered?  my  mind. I  I  might  stream  of  w e l l  had  to and  f o r m u l a f o r m u l a  have  between  h i d d e n  do  of  under  something  i t s  was  had  c o n s c i o u s -  Somewhere  are  S t r u c t u r e  audience  e m o t i o n a l  c o n c l u s i o n  o u t b u r s t .  message  n o t ,  Would  they  i n  c o m p l e t e l y  an  not  h i s  It  e m o t i o n a l  s t r u c t u r e  they  any  i s  would  a  If  p u r e l y  e x p r e s s  q u e s t i o n s  i d e a  why?  a  would  what  i m p o r t a n t  does  s e n s i b i l i t i e s ? o r  through  e x i s t  was,  so  accept  l o n g  d e f i n i t i v e ,  r e a l l y  i f  to  a l l  about  no  are  and  a r t i s t  r e a c h .  w i t h  the  became  no  not  and  How  o t h e r w i s e ,  became  something  f e e l i n g s  these  have  been  an  or  i m p o r t a n t  they  t o  Simply  those  d i d  message  Would  a l l o w  A l l and  a  image  e x t r e m e l y  More  r e a c t i o n  c o n c l u s i o n s ? c i p a t e  became  message  f o r ?  they  of  f a s c i n a t i n g .  repeated  The  i m p o r t a n t .  A  a  r e j e c t i o n  The  l o o k  b u r s t ?  stand  became  c o n s c i o u s n e s s ,  e x p l o r a t o r y . was  bombardment  meaning  o b v i o u s . s t r u c t u r e  -15-  became  the  main  q u e s t i o n i n g cinema forming  as  i t  and  c o n n e c t i n g  a t t i t u d e s e x i s t e d .  d e f i n i t i o n s  of  and  theme  throughout.  pre-conceived  More  than  cinema  f o r  I  p h i l o s o p h i e s  anything m y s e l f .  e l s e  I  was  was of  WILLOW  WILLOW s t r u c t u r a l ess  b o t h  secondary the  I  terms.  i n  f i l m i c  e f f e c t s  machine  i s  speed.  i t  p o s s i b l e  " t h i n k i n g " .  found  an  It  s u c c e s s f u l  i s  terms  In  The  WILLOW,  t o  be  Taken  d i f f e r e n t i a t e d  and  apparent  p r o c e s s .  t h i s  v i s u a l l y a  step  between  i n t e r e s t i n g  i n  image the  nature  as  a  o f  i s  s t r u c t u r a l  p u r e l y  One the  o f  has  been  t h e  c r e a t i o n  man and  p r o c -  o f  p r o c e s s  r e t a r d e d ,  c o n s c i o u s  f i l m  o f  the  t e c h n o l o g i c a l  and m e n t a l l y f u r t h e r  i n  d e f i n i t i o n  terms. f i l m  p r o c e s s  f i l m  o f  separated a e s t h e t i c  making machine and  man.  -17-  WIND  FROM  change The  THE  WEST  The  f i l m  and  r e s i g n e d  problem  w i t h  w i t h  f a t a l i s m  even  though  to  i n  was  honest  not  i s  to  to  change  t h a t  admit  t a k i n g  c o n c l u s i v e ,  r e c o r d  i t  the  that  can  becomes  s p i r i t  p l a c e .  The  f i l m  however  i t  i n v o l v e d  s t i l l i s  e x i s t s  f o r e b o d i n g ,  e s s e n t i a l l y  r e l a t i o n  to  how  of  e x i s t .  o v e r l y  a  w i t h  t h a t  e f f e c t s  attempted  and  why  i t  made.  c o n c e r n i n g much  more  the  f i l m  f o r  m y s e l f .  many  was  In i s  had  I n d i a n s '  an  s t r o n g  c o n c e r n i n g  f i l m  t o  i s  to  r e a s o n a b l y  cerned  w i t h  s t r u c t u r e  p r o p e r  s t r u c t u r e  to  about  changed  and  t h e i r  s p i r i t .  I  c o n f u s i n g Its  the  express  content  time  i s  the  i s  d r i v e s  a t t i t u d e s  I  f i n d  t h i n k  s p i r i t i t too  l e a s t  l e a v e s easy  too to  i s  a  t r y i n g  to  f i n d  p a t t e r n s  f i l m  c o n s t r u c t . t h a t  absorb.  however,  i t  t o  myself t h a t  at  o b j e c t i v e s ,  A g a i n ,  meaning,  the  t h a t  because  o r i g i n a l  i t s  My  have  s u c c e s s f u l . and  i n f l u e n c e .  r e j u v e n a t e  unanswered.  r e l a t i o n  i n t e r e s t i n g  a  p l i g h t  attempt  The  q u e s t i o n s  f i l m  time  p o s i t i v e  the  i s  i s  e x p r e s s i o n  A g a i n ,  the  attempt  f i l m  does  change and  an  acceptance  the  and  melodramatic be  was  e x i s t  c o n the  What w i t h i n  -18-  i t .  It  i s  p a t t e r n s f o r  the  t h a t  r e f l e c t i v e  a r t i s t  can  problem i s  d i s c o v e r i n g  i m p o r t a n t .  thought.  l e a r n  of  and  And  r e a l i s e  P a t t e r n s t h a t  i s  s o c i a l  and  u n d e r s t a n d i n g  can  serve  how  b o t h  as  a  audience  r e s p o n s i b i l i t y .  these  b a s i s and  -19-  FILMOGRAPHY  1.  BACKBONE 10 minutes/black and white/sound/1972.  2.  WILLOW 10 minutes/black and white/sound/1972-73.  3.  WIND FROM THE WEST 9 minutes/colour/sound/1973,  

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