“the recognition of cultural similarity or social contiguity [as well as] a categorical identity that is premised on various forms of exclusion and construction of otherness” (Gupta and Ferguson 2001:13).
“separate social universe having its own laws of functioning independent of those of politics and the economy” (Bourdieu 1993:162).
“veritable social universe where, in accordance with its particular laws, there accumulates a particular form of capital and where relations of force of a particular type are exerted” (Bourdieu 1993:164).
“Symbolic capital refers to degree of accumulated prestige, celebrity, consecration or honour and is founded on a dialectic of knowledge (connaissance) and recognition (reconnaissance)” (Johnson 1993:7).
“a dispersed category of material objects, traces, and leavings, which can be attributed to a person and which, in aggregate, testify to agency and personhood during a biographical career which may, indeed, prolong itself long after biological death” (Gell 1998:222).
“all the material differences in ‘in the way things are’ from which some particular agency can be abducted” (Gell 1998:223).
“I really do feel like, I’m much happier to come in do something on my own, that I want to see happen or even just fund something that I’d like to see happen, rather that depend on the largess of somebody else to make it a possibility. I mean I just don’t trust a lot of these institutions anymore to do something valuable, especially when it comes to film, I feel like [film is] treated in a lot of ways like a third class art form and its not taken seriously, it’s not presented properly and ultimately it becomes a kind of sop. ….. To do a program of cartoons from Universal pictures, I mean, okay, some of them are sort of funny, but it’s lame and it’s boring and it’s not an interesting job to be doing it and I don’t want to be the person who has to get up there and try and defend that because it’s really not defensible on aesthetic grounds."
“I’d rather be in the Madcat film festival [open endnotes in new window] than at the Biennale any day. With the Madcat, your films are showing all over the country with a bunch of other great women filmmakers and they’re being seen. They’re doing the kind of work you made them to do. Being seen by the people you want to see them. Who’s really seeing your work at the Whitney anyhow? A bunch of New York filmmakers who you already know anyhow and a whole bunch of tourists and art snobs. Who needs that? “
“I love the theatrical experience. I love that people will get sucked into it. I love the control aspect of it. That power part has always compelled me immensely. It’s like ‘you’re sitting there until this is over and if you get up I’ll see you.’ I’m interested in negotiating that and then the other side of that, which is this installation experience where people walk back and forth. That’s always been more disappointing, the audience experience of an installation for me. Because what I realized in doing this is it has made me much more attached to the theatrical setting because I do want everybody to watch and in an installation experience you can’t get everybody to do that.”
“Now I don’t really think there has been a market developed extensively and I think that’s the other part of the equation but that’s the function of a lot of things including, as I said, the fact it’s not a very old medium.”
“I think it also includes the fact that the criticism of the medium hasn’t been as developed as much as it could be and I think that’s the fault of critics and the artists themselves. I think experimental film benefits and suffers from the legacy of the 1960s and 1970s in which there was a real sort of neo-Marxist anti-capitalist backlash among a lot of people especially those working in moving-image media and I think a lot of people resisted a moment when there was a lot of market-driven interest in film and didn’t really capitalize on it at the time.”
“Predicting markets is something that people get paid a lot of money for so I try to be as circumspect as possible when doing so. But ultimately, I think that when things are good, and important, that markets eventually figure it out. And with something as sort of self-limiting in terms of production, like films are these days, because artists don’t tend to make very many prints and those that are made are sort of de facto limited editions. I think inevitably they are going to become valuable sooner or later and I think that if you really put your mind to it you could find out what that value was pretty quickly. If you put original prints of Brakhage films on the market and, you know sixties Brakhage films and enough people knew about it, I’d be willing to bet you you’d get a pretty hefty sum.”
- A market for film can be modeled on existing high-art markets for other reproducible objects by turning the film into a limited edition—a certain number of a set—and marketing it as such.
- This requires filmmakers to dismiss any ideology that would be counter to this model such as cooperative distribution.
- Artists must seek out people who would be interested in collecting their work or engage the services of an agent or gallery that would be willing and able to do so.
- Markets are difficult to predict but will eventually value that which is good. In this last instance, Brakhage, the most well known experimental filmmaker, is used as an example of work that would be valuable if put on the market.
“During her 15 years as Festival Director, Vicki Honeyman remained devoted to 16mm film. This award honors her years of dedication and carries forward the legacy of 16mm. The award is intended for the 16mm film that best embodies the spirit of the films that rock her world: technically challenging, innovative, quirky and unique, with a strong respect and passion for film as an art form.” [Ann Arbor 2005]
“While I love the beauty and romance of the projected film image, I understand that if I limited the viewings of my films to only the $50 + rentals of film prints, than the total audience of my work would shrink by a whole lot. I hope that my work, and the work I distribute through Peripheral Produce, has a greater importance than that. More important than the flicker or the resolution is the message and spirit behind the work, and I think that an important responsibility of art is to extend itself and try to reach an audience that wouldn't normally have access to it. Selling tapes for $14 seems to me the best way to make the work accessible (without putting myself in the poorhouse while I'm at it).”
“I don't think my films at Canyon rent more than 15 times a year, but I have sold over 500 videos, so it's economically beneficial, but also great because those tapes get all over the place. I have been in other towns and met people in completely non-film-world situations that have seen my work, and that to me is the best thing about it.”
“DIY or microcinema aesthetic…one of passionately providing alternatives to mainstream commercial entertainment” (Bachar and Kwiatkowski 2005).
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License.
|Originally published in 2010 by Jump Cut: A Review of Contemporary Media|
Jump Cut, No. 52, summer 2010