Screen writings: scripts and texts by independent filmmakers 9780520080249, 9780520913110, 9780520080256

Table of contents :
Frontmatter
Acknowledgments (page ix)
Introduction (page 1)
Yoko Ono (page 15)
William Greaves (page 31)
Hallis Frampton (page 49)
Laura Mulvey / Peter Wollen (page 94)
James Benning (page 115)
Michael Snow (page 136)
Peter Rose (page 156)
Morgan Fisher (page 175)
Trinh T. Minh-ha (page 190)
Su Friedrich (page 225)
Ann Marie Fleming (page 259)
Yvonne Rainer (page 270)
Distribution Sources (page 333)
Selected Bibliography (page 337)

Citation preview

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Screen Writings | Scripts and Texts by Independent Filmmakers

Scott MacDonald

UNIVERSITY oF CALIFORNIA PRESS BERKELEY / LOS ANGELES / LONDON

University of California Press , Berkeley and Los Angeles, California

London, England ,

University of California Press

Copyright © 1995 by The Regents of the University of California

Library of Congress Cataloging-in-Publication Data

Screen writings : scripts and texts by independent filmmakers / ,

[edited] by Scott MacDonald. , p. cm.

Includes bibliographical references. , ISBN 0-520-08024-6 (cloth : alk. paper). — ISBN 0-520-08025-4

(pbk. . alk. paper) 1. Motion picture plays—History and criticism. 2. Experimental films—History and criticism. 3. Narration (Rhetoric). 4. Motion

picture authorship. |. MacDonald, Scott, 1942- , |

PN1995.S4188 1995 791.43’75—dc20 92-30429 = CIP , Printed in the United States of America

The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984 €9

This book is a print-on-demand volume. It is manufactured using toner in place of ink. Type and images may be less sharp than the same material seen in traditionally printed University of California Press editions.

The publisher gratefully acknowledges the contribution provided by the General Endowment Fund of the Associates of the University of California Press.

To Ernest Callenbach, Martha Gever, David Trend— editors who were fun to work with

Contents | Ix Acknowledgments

1 Introduction

15 Yoko Ono 18 Mini Film Scripts

31 William Greaves 33 Symbiopsychotaxiplasm: Take One: Director's Early Notes Prior to and during Production in the Spring of 1968

37 Transcript of Excerpt from Symbiopsychotaxiplasm: Take One 46 Program Notes for Symbiopsychotaxiplasm: Take One

49 Hollis Frampton 53 Narration from Part 1 of Zorns Lemma

55 Notes on Zorns Lemma 67 Narration from Part 3 of Zorns Lemma

70 Text of Poetic Justice

91 Text of Gloria!

OL Laura Mulvey/Peter Wollen 96 Script of Riddles of the Sphinx

115 James Benning 118 ‘Respect your flag...’ —from Grand Opera 125 Script for “New York 1980”

136 Michael Snow 140 Text of So Is This

156 Peter Rose 159 Introduction to Pleasures of the Text 162 Text of Secondary Currents

175 Morgan Fisher 178 Script of Standard Gauge

190 Trinh T. Minh-ha 192 Script of Reassemblage

201 Script of Naked Spaces—Living Is Round |

225 Su Friedrich 228 (Script) for a Film without Images 236 Text of Gently Down the Stream

241 Script of Sink or Swim

259 Ann Marie Fleming 261 Transcript of New Shoes: An Interview in Exactly 5 Minutes

264 Transcript and Text from You Take Care Now

270 Yvonne Rainer 273 Script of Privilege 333 Distribution Sources 337 Selected Bibliography

BLANK PAGE |

Acknowledgments I am deeply grateful to the filmmakers whose Early Notes Prior to Production in the Spring of x > work is included here, for making their writings 1968,” a transcription of an excerpt of Symbio- 3 available to me, despite my inability to offer | psychotaxiplasm: Take One; and the program = them financial compensation. Thanks are due as _ notes on the film originally written for the 1991 a well to Anthology Film Archives in New York, Brooklyn Museum Retrospective of Greaves’s 3

especially to Robert Haller and Jonas Mekas, to films +

John Hanhardt at the Whitney Museum of Amer- ° ican Art, to my typist Carol Fobes, and to Utica Millennium Film Journal, for permission to reCollege of Syracuse University for support ofthis print the script for Ann Marie Fleming’s You project in the form of several grants and a sab- Take Care Now, no. 25 (Summer 1991): 10-13

batical leave. )

Laura Mulvey and Peter Wollen, for permission

Thanks to the following journals and individuals _to reprint the script of Riddles of the Sphinx, for permission to publish or reprint texts and __ originally published in Screen scripts:

Yoko Ono, for permission to reprint ‘Film Script

James Benning, for permission to publish “New 3” “Film Script 5,” “Omnibus Film,” “Imagi-

York 1980” nary Film Series/A FILM OF SUPER-REALISM,” originally published in Grapefruit (New York: Camera Obscura, for permission toreprint Trinh — Simon and Schuster, 1970); to reprint “The Walk

T. Minh-ha’s “Reassemblage: Sketch of aSound to the Taj Mahal,” “Mona Lisa & Her Smile,”

Track,” no. 13/14 (1985): 104-111 “Film Script 4,” and “Thirteen Film Scores, London, 1968,” previously published in This Is Not Cinematograph, for permission to reprint the —fyere a catalogue for a show at the Everson Munarration and visual texts for Naked Spaces— — geum in Syracuse, New York, in 1971, and to Living Is Round, vol. 3 (1988): 65-79; and the publish “Film No. 13 (Travelogue)” script for Sink or Swim, vol. 4 (1991): 116-129

Yvonne Rainer, for permission to publish the Morgan Fisher, for permission to publish the text script of Privilege and narration for Standard Gauge Peter Rose, for permission to publish the scripts Ann Marie Fleming, for permission to publish the y , ”

narration, the dialogue, and the text of You Take of “Introduction to Pleasures of the Text” and Secondary Currents Care Now and the conversation from New Shoes

. of So Is This

Su Friedrich, for permission to reprint (Script) for Michael Snow, for permission to publish the text a Film without Images” (originally published in

the first, and only, issue of Film/Feminism, pub- a

lished in Spring 1984); the text from Gently Down Screen, for permission to reprint the script of

- ; , ., ; Riddles of the Sphinx, vol. 18, no. 2 (Summer

the Stream (originally published in a limited edi-

tion book by Friedrich); and the script for Sink or 1977): 61-77

Swim {originally published in Cinematograph] Trinh T. Minh-ha, for permission to reprint ‘ReThe Hollis Frampton estate, for permission to assemblage: Sketch of a Sound Track,” originally publish “Notes on Zorns Lemma,” to reprint the published in Camera Obscura, and the script of text of Poetic Justice (originally published as a Naked Spaces—Living Is Round, originally pubbook by the Visual Studies Workshop Press in lished in Cinematograph. 1973), and to publish the computer texts from

Gloria! |

William Greaves, for permission to publish

“Symbiopsychotaxiplasm: Take One/Director’s

BLANK PAGE

Introduction

During the first century of cinema’s creasingly conventional, and audiences existence, text—in the form of titles, developed expectations about the kinds credits, intertitles, subtitles, rolling in- of scenarios they would see enacted in troductions, scenarios, and screen- the movie theater and about the ways in plays—has been nearly as inevitable a which visual text would function to part of the commercial film experience frame and elaborate these scenarios. as flexible roll film. And particular forms Over the years, the very conventionof text—specific ways of presenting ti- ality of the various cinematic uses of tles or credits, specific types of scenarios text has inspired a variety of creative reand forms of dialogue—have been central sponses by filmmakers working within

conventions of each cinema-historical the industry and by independent filmperiod. Even at the dawn of film history, makers who have critiqued industry film was dependent on written text in at conventions. Of course, the attempt to least two general ways. First, the “‘play- maintain or reinvigorate the commercial script” and the ‘‘scenario’”’ have always cinema audience with new, creative apbeen central to the process of film pro- proaches to scenarios and screenplays duction. Indeed, they had developed as_ has been central throughout industry forms before the advent of motion pic- history, but even in the less discussed tures.! Second, visual text, in the form of area of visual text, commercial film-

titles and intertitles, quickly became a makers have often been ingenious. As standard part of film narrative. As the early as 1907, Edwin Porter (in College popular market for cinema developed Chums} included a passage during which during the first decades of this century, a young man and woman “discuss” the both kinds of cinematic text became in- Other Woman on the phone by means of 1. See Patrick G. Loughney, “In the Beginning Was the Word: Six Pre-Griffith Motion Picture aE aoSO. in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser, 211-219 (London:

3aaaan . é : °°°me aaBo .,aoa ae f es [rt bet ‘ . . . ae ,. _oe Exe : a 2S a . es . a OEE 7 oe | | Nee. ccm, ae ae Man and woman argue in Edwin Porter’s College Chums (1907). Courtesy Charles Musser.

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animated words that collide mid-screen writers became and remained as inevita-

when the conversation grows heated. ble a part of film studios as producers, Periodically throughout the teens and_ directors, actors, and cinematographers. twenties, live-action directors (Keaton in No longer necessary for the developThe General (1926), for example) and an- ment and clarification of narrative, visual

imators (Sullivan and Messmer inthe Fe- text became less important. Sound did lix the Cat cartoons) explored the poten- make possible the inventive singalong tial of printed intertitles and other forms animations of the Fleischer brothers (and of visual text to energize the experience ' others}, but in general, visual text became of silent cinema. Indeed, F. W. Murnau’s confined to conventionalized titles and well-known rebellion against intertitles credits. In the commercial industry, spoin The Last Laugh (1924)—on the grounds ken text has maintained its cinematic

that they were intrinsically unfilmic~— priority over visual text throughout the was accomplished in part by the use of | sound era, though there has been some “more intrinsic’ forms of text within variation in the significance of titles and

the imagery. credits. As the power of the studio system

Of course, the coming of sound dra- weakened during the fifties and sixties matically changed the nature of the texts and the TV audience cut into film reveused in commercial films. Silent acting nues, directors felt increasingly free to interspersed with printed intertitles was use titles and credit sequences aggresreplaced by extended dialogue. The sound sively. Who can forget Saul Bass’s credits

stage became a central focus of industry for Psycho (1960)? Indeed, by the midfilmmaking. And the axiom of the indus- sixties, many directors were expanding try that films begin with writing was the visual drama of their opening credits powerfully reconfirmed. Hollywood be- by making them an integral part of intro-

came famous for trying to lure the most ductory sequences.

inventive American fiction writers and Text has also been of considerable playwrights to the studios, andacadreof importance throughout the history of

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’s diari inni ith (in Bleu 1970), Anth McCall Jonas Mekas’s diaries, beginning wit (inShut, Bleu Shut, , Anthony McCalland an .

Walden (1969), the filmmakers werecom- Andrew Tyndall {in Argument, 1978}, mitted to the use of film as a way of savin Patrick Clancy (in Peliculas, 1979}, Bruce and honoring moments of simple, un- Elder (in 1857: Fool’s Gold, 1981, Hlumi-

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retentious beauty; both returned for in- nated Texts, 1982, and other films

spiration to the beginnings of cinema (es- Michael Snow (in So Is This, 1982}, David

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pecially to the Lumiéres, whose films Goldberg and Michael Oblowitz (in The were seen as simple, unpretentious rec- I[s/Land, 1982), Peter Rose (in Secondary

,;

ords of everyday life identified by simple Currents, 1983), James Benning (in Amertitles), using intertitles to identify imag- ican Dreams, 1983}, and others centered

ery—a method of commentary generally films on visual texts as a means of exabandoned as old-fashioned once sound- _ ploring such issues as the development of

’ the intell he distinction b on-film had transformed theiindustry. the intellect, the distinction between By the seventies and eighties,, some reading a text in a book and in a movie filmmakers were dramatically extending theater, the potential of text to define and the length and scope of films that relied control a cinematic experience, and—in

largely or exclusively on printed texts. the case of McCall/Tyndall and BenHollis Frampton (in Zorns Lemma, 1970, ning—to reveal central gender assumpand Poetic Justice, 1972), Robert Nelson tions of American culture.” For Yvonne

8Y

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7. To my knowledge, the original Lumiére films did not have titles, but the Lumiere prints in circulation by the fifties and sixties did; independent filmmakers discovering the pioneers of cinema apparently assumed that the way they saw the early films was basically the way original audiences saw them.

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8. For a discussion of some films in which printed or written texts are a film’s central imagery see my “Text As Image,” Afterimage, vol. 13, no. 8 (March 1986): 9-20; and Mot: dites, image, a catalogue for a show of such films during October and November 1989, organized by the Museum of Modern Art at the Centre Georges Pompidou in Paris. The show and catalogue were largely the work of filmmaker Yann Beauvais, whose essay ‘‘Des mots encore des mots,” is one of several included in the well-illustrated catalogue.

ia

Patrick Clancy’s Peliculas (1979) must be read as a scroll (a surreal narrative is handwritten along the filmstrip in various colors) and seen projected (clusters of frames regularly interrupt the handwriting). Courtesy Patrick Clancy.

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soo Rainer, extensive use of visual text be- conventionally embedded in commercial 3 came an integral dimension of a critique scenarios and screenplays. 2 of the conventional cinema’s marketing By 1964, Yoko Ono was critiquing the a of voyeuristic eroticism. By using text, narrow range of industry narrative forms S along with photographs and a variety of by writing mini film scripts that defied forms of self-reflexive live-action imag- conventional presentation and cinematic ery, tochroniclethelivesofthecharacters logic. What could be less conventional, in Film About aWoman Who... {1974}, and less marketable, than a script that for example, Rainer was able todevelopa simply directs the reader to ‘ask audinarrative that allowed viewers to under- ences to cut the part of the image on the stand her women characters, without ex- screen that they don’t like. Supply scisploiting their physical presence in con-_ sors’’! For Ono, film “‘scripts’’ did not

ventional, male-oriented ways. need to be precise indications of what The increasing interest among North characters in a melodrama will say to one American independent filmmakersinthe another; they could suggest entirely new cinematic possibilities of visual text was approaches to filmmaking that anyone

certainly not an isolated phenomenon. might appropriate. William Greaves’s The same period saw a wide range of ex- scenario for Symbiopsychotaxiplasm: periments with visual language by the Take One (1967) provided dialogue for his

group of French artists known asthe Let- two central characters—a man and terists (their explorations included film: woman arguing—but during the shootJohn Isador Isou’s Treatise on Drivel and _ ing, this dialogue was performed by five Eternity (1951), for example); by the in- different pairs of actors, some of whom ternational movement of ‘“‘concrete’’ or spoke the lines, while others sang them.

‘visual’ poets, like Emmett Williams, Greaves assumed that five separate films whose THE VOY AGE (1975} exploresthe would result from this one scenario. In literal and historical ‘‘seam’’ between 1972, Hollis Frampton revenged himself

reading a text and watching animated on the conventional assumption that motion pictures; and by a wide range of films must be based on written screenvisual artists who incorporated text into plays: his Poetic Justice provides poetic painting, sculpture, graphic design, and _ justice for the conventional filmgoer. Inmultimedia works. And of course, exper- stead of filming dramatized action, iments in artistic circles paralleled, in- Frampton filmed a 240-page screenplay, fluenced, and were influenced by the one page at a time; viewers must ‘shoot worlds of magazine and television adver- the movie” in their minds. A more partising and a wide range of phenomena in _ ticular kind of critique is evident in James

the culture at large. Benning’s scenario, ‘“New York 1980” The sixties and seventies also (the resulting film was called Him and

brought a variety of critiques—in the Me, 1982), where the mysterious death form of films and film-related writ- that motivates all the action is the last ings—of the commercial cinema’s de- information readers/viewers learn, not pendence on conventional, melodra- the first, as it would be in most convenmatic scenarios and screenplays. Some _ tional Hollywood narratives.

of these critiques confront the formal As synch sound equipment became inconstruction of industry screenplays creasingly available to independents in and/or their particular relationships to the late sixties and the seventies, new the films that develop from them. Oth- avenues for critique opened up. Filmmakers confront the fundamental attitudes ers could now develop screenplays for about gender, race, and class that are films that demonstrated the limitations

of conventional industry screenplays focus on aspects of women’s experiences no from positions generically muchcloserto that have been marginalized or ignored by 3 the problematic industry product than the commercial cinema and devise ways 2.

had been possible before. Certainly, by of depicting women without participat- * the seventies, many filmmakers had _ingin those forms of cine-‘‘voyeurism” so 5 come to see the now-“traditional” avant- typical of conventional cinema. In other garde resistance to synch sound as at best cases, filmmakers confronted the tradicounterproductive: to refuse synch sound tion of spoken narration in commercial (and the necessity for carefully designed film and in documentary by writing narscenarios and screenplays) onthe grounds rations to be spoken by women. Notable that the choice of silence was in some instances include Trinh T. Minh-ha’s Re-

sense ‘purer’ than a “‘surrender’’ to assemblage (1982) and Naked Spaces— sound was to consign independent film- Living Is Round (1985) and Ann Marie making to the arty margins, to refuse op- Fleming’s You Take Care Now (1990). | portunities for effectively confronting Trinh’s early films also confront the trathose very limitations of commercial dition of the narrator who speaks in a film that had inspired generations of conventional white, ‘‘educated”’ accent, avant-garde filmmakers. To choose si- by using multiple women narrators, each lence when sound was economically fea- of whom speaks with a different, ‘‘non-

sible came to seem an implicit mainte- mainstream” accent. | nance of the status quo, rather than a meaningful critique of it. The seventies The function of this volume is to saw a wide range of new, independent make accessible some of the most intersound films, made by independents work- _ esting and inventive texts and scripts in-

ing in 35mm (Chantal Akerman’s Jeanne dependent filmmakers have written Dielman...,1975, is anotable instance} and/or filmed during the past twenty-five and in 16mm (Charles Burnett’s Killer of years. The particular texts and scripts Sheep, 1977), by individuals or small included were chosen to accomplish a vacrews using increasingly portable 16mm __sriety of goals. The most obvious is to facinéma-vérité rigs (Ed Pincus’s Diaries, cilitate the study of films and filmmakers 1976, for example) and by filmmakers us- of considerable reputation in those sec-

ing the new, inexpensive Super-8mm tors of academe and the culture at large sound equipment that had become avail- where the potential of using independent able (Beth and Scott B’s Black Box, 1978, _ film as critique is recognized. While the

and G-Men, 1978), majority of scripts and texts included In general, these independent film- here are of some reputation, I have also makers used their new access to sound’ included a number of writings by lessertechnology to produce melodramatic nar- known filmmakers (Ann Marie Fleming, ratives that confronted the industry’stra- for example}, as well as lesser-known ditional failure to deal progressively with texts by more widely known filmmakers: issues of gender, race, and class—gender Yoko Ono’s mini film scripts, for inmost centrally, expecially in the seven- stance, and Su Friedrich’s (Script) for a ties and eighties. Yvonne Rainer’s fea- Film without Images.”

tures, from Film About aWoman Who... My particular choices of scripts and | through Privilege (1990), are especially texts and my organization of the selecgood examples, as are Laura Mulvey and _ tions are also meant to provide a sense of Peter Wollen’s Riddles of the Sphinx, and at least one trajectory through the recent Su Friedrich’s Damned If You Don’t (1987) history of independent filmmaking and and Sink or Swim (1990). All these films a reminder of the many ways in which

soo writing hasfunctionedinrelationtofilms tee as a group of old-fashioned, territorial 3 that critique the mainstreamcinema.The males.” For some, my inclusion of ‘‘struc= scripts and texts are arranged chronolog- tural filmmakers’ identified with ‘‘the “ ically, according to the dates when they _ essential cinema’’—Frampton, Snow—in

= were written and/or appeared in films. the same volume as Rainer, Mulvey/ The volume begins with the mini film Wollen, Trinh, and Friedrich—filmmakscripts Ono wrote in 1964 and ends with | ers who represent a more progressive cinthe script of Yvonne Rainer’s Privilege, ematic commitment to issues of gender which was completed in 1990. Of course, andrace—may seem strange. But the coexthis arrangement distorts one’s sense of _ istence of these filmmakers in the same

this twenty-seven-year period, since the volume makes sense on at least two levchronology of individual works does not els. First, the rift I’ve mentioned has less account for the longevity of particularca- to do with particular filmmakers than

reers. As has been suggested, Rainer’s with the cultural politics of defining contributions to the creative uses of cin- which films are worth watching. Though ematic text began twenty years before — there are differences between the work of

Privilege, and other filmmakers whose Frampton and Snow and the work of work is included in Screen Writings have Rainer, Mulvey/Wollen, Trinh, and Friedcontinued to make contributions for _ rich, there are also significant elements of

years after they wrote the selection in- continuity. Indeed, the formal inventivecluded here. The individualintroductions ness of Snow and Frampton was, accordto the particular filmmakers provide ing to Mulvey, a major influence on Ridsome sense of the historical terrain rep- dles of the Sphinx, and Friedrich’s use of resented and a more thorough context for the alphabet as her fundamental organieachof the films and filmmakers selected. zational principle in Sink or Swim can be

One particular historical issue im- understood as an implicit response to plicit in Screen Writings is what wasseen, Frampton’s use of the alphabet as the cen-

at least fora time, asarift inthe history tral organizational principle in Zorns of avant-garde film between the early- Lemma.!'® seventies Anthology Film Archives proj- Second, whatever limitations one sees ect of defining ‘‘the essential cinema’ in the critical/curatorial project of the and the widespread suspicion and rejec- Anthology selection committee or in the tion of this project, and especially its val- more overtly political analyses of a later orization of what P. Adams Sitney wasto generation of commentators dedicated to call ‘‘structural film’’—on the part of | expanded gender, racial, and class awarefilmmakers andcommentators whocame ness, many of the filmmakers of recent to see the Anthology selection commit- decades who have been championed by 9. The selections and the thinking of the Anthology selection committee are set forth in The Essential Cinema, ed. P. Adams Sitney {New York: Anthology Film Archives and N.Y.U. Press, | 1971). The members of the committee were James Broughton, Peter Kubelka, Ken Kelman, Jonas Mekas, and Sitney.

10. Mulvey discusses this influence in ‘Interview with Laura Mulvey: Riddles of the Sphinx," in A Critical Cinema 2, by Scott MacDonald (Berkeley, Los Angeles, Oxford: University of California Press, 1992). Friedrich indicates that the “allusion” to Zorns Lemma in Sink or Swim is, at best, unconscious, though she agrees that Frampton is an influence, in ‘Daddy Dearest: An Interview with Su Friedrich,” by Scott MacDonald, The Independent, vol. 13, no. 10 (December 1990}: 28.

In some cases, the interplay of these two “schools” of filmmaking is even more direct: | Frampton left a space in his Magellan {1972-1980) for any one of Rainer’s features—the only filmmaker he so honored; Rainer dedicated The Man Who Envied Women (1985) to

Frampton—her only dedication of a film to a filmmaker.

one group or another share basic concerns _ lections are the spoken and printed texts as about the film industry and the audience of Reassemblage and Naked Spaces—Liv- 3

it has generated. Frampton’s Poetic Jus- ing Is Round, but these texts are also 9 tice (1972) is as much about the nature of | meant to stand on their own as poetry. * the spectator’s identification with cam- __Friedrich’s “(Script) for a Film without S era and character as is Rainer’s Film Images” is not a film script at all, but a About a Woman Who... or Mulvey’s__film-inspired written narrative that, influential essay ‘‘Visual Pleasure and however, relates in a variety of ways to Narrative Cinema.’’!! Snow’s Wave- her films, especially to The Ties That length is as much an attack on conven- Bind (1984) and Sink or Swim. Peter tional narrativity as is Trinh T. Minh- Rose’s ‘Introduction to Pleasures of the ha’s Reassemblage. It is the assumption Text’ is a transcript of a performance of this collection that one of the most piece that offers an amusing and insightinteresting developments in the recent ful critique on academic writing about history of independent film has been the _ film and serves as the introduction to the

interplay of various avant-garde ap- evening-long performance experience of proaches by filmmakers mounting a sus- which the film Secondary Currents is a tained critique of the conventional cin- part. Frampton’s ‘‘Notes on Zorns Lemema and the cultural practices it encodes ma” provides the filmmaker’s own anal-

and polemicizes. The texts and scripts ysis of many dimensions of his influencollected here are indices of this inter- tial film, as they were recorded in a set of

play. notes found in the Frampton files at AnThe other consideration that in- thology Film Archives. And William

formed my selection and arrangement of Greaves’s original notes for Symbiopsyscripts and texts wastorepresent, asfully chotaxiplasm: Take One suggest a conas seemed practical, the wide range of _ text for a remarkable, recently rediscovways texts composed in connection with — ered experiment. particular films have functioned. In some Finally, Ibelieve I have selected scripts instances—Riddles of the Sphinx, Privi- and texts that are readable and suggestive lege—I have merely reprinted scripts or ontheirown, whether one is familiar with texts from completed films, so that the _ the films represented by the texts or not. relevant films can be studied by students, In fact, several selections—Frampton’s

critics, historians, and theorists more Poetic Justice, Friedrich’s (Script) for a precisely and in greater depth. In other Film without Images,”’ several of Ono’s cases, Ihave included scenariosthatfunc- mini scripts—were originally published tioned as sketches for possible or actual as literary texts (in limited editions no films. Yoko Ono’s mini scripts are con- longer widely available). Of course, no ceptual designs for films, only a few of | matter how engaging the reader finds the which have resulted in actual films. scripts and texts included here, this book James Benning’s ‘“New York 1980” was _ should be understood as a means to an later fleshed out and became the screen- end: it is meant to function as a resource

play for Him and Me. for those who have had or will have exIn still other instances, the texts in- periences with the films themselves. cluded here have less direct, and less Should the readability, the insight, and conventional, relationships to the films the inventiveness of these texts and they represent. The Trinh T. Minh-hase- scripts entice new audiences to the films 11. “Visual Pleasure and Narrative Cinema” is widely anthologized and also available in Mulvey’s Visual and Other Pleasures (Bloomington/Indianapolis: University of Indiana Press, 1989).

ro and filmmakers—and toward the large Craig Baldwin’s Tribulation 99: Alien 5 and vital history of alternative cinema of Anomalies Under America is evidence of

2 which this collection is at most a tiny how many interesting scripts are avail* index—the author will be delighted. able. Screen Writings is my first antholS Anyone familiar with the productive ogy of this particular kind. I hope readers worldofindependentcinemawillknowof will find it interesting and useful enough other scripts and texts that can compete, to suggest that further volumes are in in terms of historical interest, variety,and order. readability, with those I have included in Screen Writings. Clearly the collection fo-

cuses on North American filmmakers (the only exception is Mulvey/Wollen}, and this brief introduction has not so far

mentioned many filmmakers and/or films—from North America and elsewhere—that have explored the possibilities of visual text, including Robert Florey and Slavko Vorkapich | The Life and Death of 9413—-A Hollywood Extra, 1928), James

Sibley Watson and Melville F. Webber (The Fall of the House of Usher, 1929), Len

Lye (Trade Tattoo, 1937; Musical Poster

No. 1, 1939), Ian Hugo (Jazz of Lights, | 1954), Maurice Lemaitre (Le film est deja

commence, 1951; Films imaginaires, 1985}, Peter Watkins (The War Game, 1965; The Journey, 1987), Stan Brakhage (23rd Psalm Branch, 1967), Paul Sharits (Razor Blades, 1968), George Landow (Remedial Reading Comprehension, 1970),

Joyce Wieland (Rat Life and Diet in North

America, 1968; Raison avant le passion, 1969), Diana Barrie (The Living or Dead Test, 1979}, Liz Rhodes (Light Reading, 1978}, James Irwin (The Big Red Awk, 1984, Let’s Be Pals, 1985}, Robert Breer (Bang!, 1986), Greta Snider (Blood Story, 1990), Yann Beauvais (Vo/Id, 1985), Jen-

nifer L. Burford (Cortex, 1988), and

Michele Fleming (Private Property, 1992), , to name just a few.'* Indeed, the recent

publication of The Films of Yvonne Rainer, Rainer’s scripts up through The Man Who

Envied Women (1985); of Phyllis Rauch Klotman, ed., Screenplays of the African American Experience; and of the script of

12. A more complete listing of non—~North American films that explore visual text is included in Yann Beauvais’s Mot: dites, image {see note 8).

Yoko Ono

Between 1964 and 1968 Yoko Ono wrote _wasbasedonthe film script, ‘Film No. 12 a series of mini scripts for films (some- Up Your Legs Forever” (a.k.a. ‘Film No. times she called them ‘‘scores’’], concep- 12 (Esstacy)’’).2 In one other instance,

tual designs that in a few instances she the sequence of film and film script is would later use as the basis for films of _ difficult to determine. By the time the her own and that she has continued to film script ‘‘Film No. 4 Bottoms” was feel can serve as a resource for other film- copyrighted as part of ‘‘Thirteen Film makers. At the time when she was writ- Scores’’ in 1968, two versions of the ing the film scripts, Ono was deeply in- film described had already been made: volved in Fluxus, an art movement with No. 4 (1966}, which was included in roots in Dada and Duchamp, dedicatedto Fluxfilm Program, coordinated by George the creative idea and to the instigation of | Maciunas, and a feature version, No. 4 new kinds of spectator-art relationships. (Bottoms) (1966).

Her first films were a result of her con- In Rape, a camera crew follows a nection with Fluxus, not of the film woman through a London park, along scripts.’ But during the late sixties she streets, and finally into her apartment collaborated with John Lennon on three’ where she tries, unsuccessfully, to perfilms based on mini scripts copyrighted suade the camera crew to leave. The filmin 1968, but presumably written earlier: ing was candid, though later enhanced Rape (1969) was a version of ‘Film No.5 with laboratory effects. While it is Rape (or Chase)”; Fly(1970} was aversion shorter than the version envisioned in of ‘Film No. 11 (Fly)’”’ (a.k.a.““Film No.13 ‘Film No.5 Rape (or Chase],’’ the seventy-

Fly’); and Up Your Legs Forever (1970) seven minutes of Rape are enough to 1. In 1963 Ono had contributed a sound track to Taka limura’s Love (Ai). 2. The misspelling of ecstasy has been retained at Ono’s request, as evidence of the informality of her aesthetic at the time.

a 2 make the camera rape relentless and ex- excerpts from the media coverage of the © hausting, and near the end, the film does _ shooting (including an interview with > achieve something of the dreamlike qual- Ono} accompanies the visuals. 2. ity envisioned by Ono. The interest in Regardless of the degree of success— - flies evident in ‘Film No. 11 (Fly}’’ fueled by whatever measure—of the adaptations ‘D several Ono projects, including designs of the film scripts, Ono’s central mission for installation pieces, and a Museum of in composing the scripts was not comModern Art show (documented by acat- pleted by her making the films. In the alogue designed and printed by Ono in 1971 Touchstone edition of Grapefruit, 1971—after MoMA distanced itself from the ‘‘Film”’ section is introduced by this

the show}, as well as one of the most statement: memorable Ono-Lennon collaborations,

the film Fly. During thirty minutes, the These scores were printed and made camera follows a fly as it explores the available to whoever was interested at the nude body of a sleeping woman (the sit- time or thereafter in making their own uation is reminiscent of Gulliver’s trip to version of the films, since these films, by Brobdingnag, and of Willard Maas’s Ge- their nature, became a reality only when ography of the Body, 1943). Late in the they were repeated and realized by other film, more flies appear on the body, which film-makers. by then looks like a corpse; at the end the A dream you dream alone may be a camera pans to an open window and to dream, but a dream two people dream the blue sky outside. On the sound track together is a reality. of the film Ono provides fly vocalizations

and, near the end, a bit of music in re- Andina recent interview, Ono confirms verse. Up Your Legs Forever is aseventy- the idea that the film scripts should be minute series of vertical pans up the bare considered resources for filmmakers: ‘’I legs of men and women, from their feetto think one of the reasons I’m not making their thighs, accompanied by a sound’ more films is that I’ve done so many film track of comments and sounds made dur- _ scripts. I’d like to see one of them made ing the filming. Up Your Legs Forever is by somebody else.’’* Readers are invited less impressive than the other two film _ to consider Ono’s mini film scripts as a adaptations of the film scripts, perhaps _ resource for films of their own.

because it does not advance beyond Ono’s What follows is the most complete remarkable, previous feature, No. 4 (Bot- collection of the Ono film scripts I am toms}, which focuses on buttocks, rather able to locate. I have included only the than legs. In No. 4 (Bottoms) and in the _ pieces Ono specifically labeled as ‘‘film earlier No. 4, Ono’s camera films one pair _ scripts’’ and ‘‘film scores.” I have not inof naked, walking buttocks after another. cluded proposals for and descriptions of

In the feature version, a treadmill was the various film installations conceived built so that the framing of the buttocks andin some cases built by Ono and Ono/ could be controlled: Ono wanted each Lennon. Jon Hendricks includes a demoving bottom to exactly fill the frame. tailed, annotated listing of the installaA sound track made up of comments by _ tions and all of Ono’s Fluxus work in his participants and nonparticipants and of Fluxus Codex.* In several instances, film 3. Scott MacDonald, “Interview with Yoko Ono,” in ‘“‘Yoko Ono: Ideas on Film,” Film Quarterly, vol. 43, no. 1 (Fall 1989): 16. 4. (New York: Harry N Abrams, 1988], 415-426.

scripts were published apparently copyrighted} more than(and once, in slightly| s< |o different versions. In 1971 Ono and Len- 5 non had a retrospective at the Everson Museum in Syracuse, New York, called “This Is Not Here.” The catalogue for that show reprinted Six Film Scripts by Yoko Ono (Tokyo, June 1964) and Thirteen Film Scores (London, 1968). I have used the ‘’This Is Not Here” versions of those pieces, along with “Imaginary Film Series: Shi (From the cradle to the grave of Mr. So},’’ which includes ‘“A FILM OF SUPER-REALISM’’—as printed in Grapefruit—and ‘Film No. 13 (Travelogue}.”’ In

one instance, there are two entirely different versions of a script with nearly the same title: ‘“The Walk to the Taj Mahal” and ‘‘Film No. 1 A Walk to Taj Mahal.” Both versions are reprinted.

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¥ @ The film must be simplicity itself. It should be made : effortlessly, no pain no strain, no forcing symbolism, etc. = All of that must be inherent in the chemical makeup of the M SYMBIOPSYCHOTAXIPLASM operation. And yet the film is a series of

2 analogies, metaphors, similes. Things standing for other things, » a microcosm of the world, a fragment of the Godhead which is made up of other Godhead fragments.

It is a free-fall in space. We simply don’t know where we will

land with this creative undertaking. It is a study of the creative process in action. Also, the film is Jazz! It is improvisation. It is an exploration into the future of cinema art. The film is about fire! Life Fire which is all around us. The task of our cameras is to spot and film the fire until like water hoses, they put the fire out (in a similar way, the electron microscope destroys the character of the atom it is observing!). The film is free association. The camera dashes from fire to fire. A personal note: Refuse to give a total explanation of the film! First of all it is impossible anyway, due to its complexity. Give only as much of an explanation as will satisfy the performers and film crew. To give more will kill the truth and spontaneity of everyone.

Rumors of unrest and revolution in the crew should develop,

should lead to encounters with the director.

The film is rebellion! Rebellion against traditional cinema form. The hippies on the crew are for love and rebellion, in

contradistinction to the screen test characters, Alice and Freddy, who are suburbanites, caught ina life of conformity. Part of the strength, along with the excitement and

challenge of this project, is its basic conflict, which is that of identification. . . identification of the actor with the part, the characters with each other, the actors with the director, the crew with the script, with the actors, with the director etc. What is the psychoanalytical significance of this piece? Is it a dream that has the facade of truth or truth with the facade of a dream? Is it chaos masquerading as order or order simulating chaos? The piece, i.e., this film, must be susceptible to analysis, and yet it must be as unfathomable as the cosmos.

A personal note to (myself): RE: The actors, Patricia Ree Gilbert & “ = Don Fellows. Call Don about the work he did at the Actors Studio, the : private moment, where he sang and played a guitar; try to get him to use 3

that level of vulnerability on the set! 5 Shoot a scene where they do a line reading. Have them improvise
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be I have grown accustomed to alluding to Zorn’s Lemma (which is 3 demonstrably identical with two other mysterious mathematical entities ” called “The Axiom of Choice” and “The Well-Ordered Principle”) by one

of its corollaries, viz. [ “EVERY PARTIALLY ORDERED SET CONTAINS A MAXIMAL FULLY ORDERED SUBSET ” ]

You may multiply instances at your leisure. For one or more things to be “ordered”, they must share a perceptual (provable) element. So there are many ordered subsets within the set of all elements that make up the film, e.g. all shots containing the color red.

There is the subset of all “abstractive” elements (the words, if

they are seen as merely “list-able”) and the subset of all “fictive” | elements (the images, if they are seen merely as deliberately “made”. But what you see (consciously) most of all is the 1-second cut, or pulse. So that what I imply, is that the maximal fully-ordered subset of all film (which this film proposes to mime) is not the “shot,” but the CUT—the deliberate act of articulation. Beyond that, there is the pulse of 24 FPS, which is truly the maximal fully-ordered subset of all films—and, obliquely, of our perceptions, since that is the threshold at which they FAIL us. BUT:

Zorn’s own Lemma was & is not, as you suggest, a “theory for

describing all the possible relations withina...set”. That is probably the whole task of mathematics at large: to describe all the possible relations among the class (or set) of “all numbers”. Zorn’s Lemma is, rather, hierarchic, in that it proposes a possible meaningful “tour” of all elements within a set with regard to only one operation = discernment of their “ordering”, or the relative preponderance of their shared qualities.

“ ZORN” Co means RAGE, ANGER am The German noun 4% = M

p

o WORDS:

The film had its beginnings in pre-occupation with tension between

graphic & plastic/flat vs. illusionistic elements in same space. There were 2000+ B&W stills made in 1962/63, which I proposed to standanimate. In the film as it was made all word shots are hand-held & as many as possible contain movement within the frame as well. I went for maximum

variety of space, surface, etc. There are conscious references to every painting, drawing & photographic style I cd/ [could] manage—though they

are doubtless subtle in terms of 24 frame viewing time. There are hundreds of shots wch/ [which] refer, secretly, to characteristic postures

vis-a-vis space, color, etc. within the history of film; i.e. stylistic tendencies of other directors, mostly within the narrative canon. Naturally, I had to work with the opportunities presented to me within Manhattan. *

*Exceptions: FOX: Brooklyn EXIT

HUMBLE: Summit & Medina Counties, Ohio YIELD

5

© John, I.

2 o “THE WORD WAS MADE FLESH. . .” 2 The film is a kind of long dissolve, not quite the way WAVELENGTH is

” a zoom, but nevertheless... Elements of Autobiography:

a) that I received the same Judaeo-Christian upbringing as nearly

everyone else in my culture: rote learning, by authority, in the | dark, full of obscure threats of death, moral maxims, exotic animals anthropomorphized, tales of obtuse heroes pointing doubtfully to arcane wisdom. b) that my adolescence & early adulthood were concerned primarily with words & verbal values. I fancied myself a poet; studied living & dead languages—hence my early contacts with, for instance, Ezra

Pound. ,

c) that 13 years in New York saw a gradual weaning away of my conscious-

ness from verbal to visual interests. I saw this as both expansion &

shift.

d) that I began, during the making of the film, to think about leaving the city. Part III is prophetic, in that sense, by about 5 months. e) note that the film was begun in late 1962 .. . and the growth of the work on the conceptual level quite literally mimes the shift described inc. The necessities of this film, and of others that rehearsed it, also accelerated the process the film simulates.

SUBCLASSES within the class of all “WORD” -images (locations of these 3 2

are marked in the cutting chart.): : °

Reasoning: in the course of making any long, dense, & if you will | @

“ambitious” work of art that functions within time and itself requires a much time to make, a number of misfortunes are bound to occur. I take the ° Divine Comedy of Dante as my model, but many other works would do as well

(Verbal epics make a clearer case because they share a characteristic with my film: modularity (a word = a shot). The misfortunes are: 1) metric errors. Lines that simply will not scan within the parameters of the normal overall metric scheme.

2) omissions. Information necessary to intelligibility definitely left out. 3) errors. Mistaken words. Error of fact & syntax. Solecisms, & other grammatical monstrosities.

4) lapses of taste. Overt phoniness, vulgarity, archness, artiness, etc. wch/ [which] apparently proceed from the artist’s character

rather than his aesthetic stance. (i.e. they are not tactical. ) 5) Faking. The use of a nominal or merely adequate locution to find one’s way out of an uncritical mode or impasse. 6) Breaches of decorum. Wherein the artist, by design or otherwise, breaks the rules he has himself set up for operating upon the elements of the work.

s 0 Since all these misadventures were bound to occur to me in making ZL, I 5 decided to incorporate them deliberately. Then at least I wd/ [would] = know where they were. It had to be done “in code”, to be sure, and one

I that had some relation to film as I excern [?] its tradition. This is the

3 scheme I adopted: ° 1) METRIC ERRORS. All shots in the main section (your “PARTII”) or matrix are 24 frames long, except for 24. 12 are only 23 frames, and 12 are 25 frames. Their positions were determined by another party (My “key grip”, David Hamilton) by chance operations specified by me, and he then destroyed the record of their location (without informing me. )

2) OMISSIONS. As if I had thought later of some words that shd/ [should] be in the film. e.g. DULCET, ASPIRIN, LUTE etc. These are

burn-in titles, superimposed in white. Since I did not wish to | break the architectural decorum at this point, they are supered on

shots of Lower Manhattan buildings. |

3) ERRORS. I decided to encipher these “as though” the cinematographer had used the wrong color filter. A group of black & white graphic collages were prepared and shot on color stock, ona stand; several were made through each of the additive and subtractive primaries: RED, GREEN, BLUE, CYAN, MAGENTA, YELLOW.

4) LAPSES OF TASTE. A scattered category [of] “Real” words (not flat animation material) obviously hoked up in the studio. The hand un-writing “XYLOPHONE” backwards is one example among many. 5) FAKING. A large group. Color collages pasted up from magazines, instead of being “found” in the environs. Hommages to many, but

chiefly Rosenquist. 6) BREACHES OF DECORUM. Encoded as still black-and-white photographs,

“flat” stuff, amid the welter of color; these are from the original 1962/63 shooting & so are the oldest material in the film. Each has a sentimental or outrageous “real” (colored) object lying on top of it (a green toothbrush on “WIG”, matches on “FUCK”, etc.) THESE AMOUNT, ALTOGETHER, TO ABOUT 1/6 OF THE WORDS, SO THEY ARE NOT A NEGLIGIBLE GROUP. THEY BECOME MUCH MORE VISIBLE ON REPEATED VIEWINGS. THEY ARE OF CONSIDERABLE IMPORTANCE TO MY OWN VIEW OF THE FILM, & REFLECT FORWARD TO THINGS NOW ONLY HALF -PLANNED.

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Reproduction of page of Hollis Frampton’s “Notes on Zorns Lemma.” ,

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“REPLACEMENT” IMAGES

“Word-images” are all, by definition, man-made. They are entirely un-manipulated documents (i.e. in my cinematography). The “replacements ”—“natural” images—are nearly all manipulated. Exceptions: B, C, Q@, S.

I made about twice as many images as I used. There is no looping,

i.e. all were shot in real time, and are seen in real sequence (some are

elided or elliptical). Criteria were essentially 3: 1) banality. Exceptions: S, C. 2) “sculptural” as distinct from “painterly” (as in the wordimages) work being done, i.e. the illusion of space or substance, consciously entered and dealt with, as against mimesis of such action. Exceptions: D, K. 3) cinematic or para-cinematic reference, however oblique. To my mind any phenomenon is para-cinematic if it shares one element with Cinema, e.g. modularity with respect to space or time. Consider also the problems of alternating scale, and maintaining the fourfold HOPI analysis: CONVERGENT VS. NON-CONVERGENT/RHYTHMIC VS. ARHYTHMIC.

gS 2 NOTES ON SPECIFIC IMAGES: ‘ [This subtitle is circled in the original notes. ]

.= 3 A: turning pages. Anewcycle, new day, etc. SECRET correspondence:

” the particular book is the Old French version of Antonio

Pigafetta’s diary of the voyage of Magellan, which figures ina future film. The pages were turned to the beat of a metronome at 1 page/sec. B: Frying egg. Note that you see the egg being cracked. Egg = usual cosmological bullshit BUT a real & vivid image. A new historical cycle, a new epoch — a new phoenix egg.

C: Red ibis. The only shot not made specially for ZL. Kowtow to

[seconds]. ,

exoticismararity, & the rarest shot in the filmor 1 sec. in 3606 D: Cookies. Immediate reference to flat-screen vs. illusionist space, via the passage from “figure” to “ground.” Annette M. [theorist/ | teacher Annette Michelson] thought the woman was laying black

stars on the table. Of course “star” means something in film

history. E: Split face. TALKING, silently. TWO TIMES in the same space. The

first “person” (in fact the school-marm of part I), reciting the same text by halves.

F: Tree. A leap forward to PART III. A (dormant) vegetative world of slow rhythms. The only STATIC shot among replacements.

G: Hands washing. The first nominal “ritual” . Manipulated through “direction” (“Now begin to rinse”, etc.) H: Walking a block. Simile for the whole film = expenditure of an

artifact of fixed physical length. Use of telephoto lens, without change of focus, passes shot from deep space through flat & back to deep again. Giving the artifice away, at the very end. I had the cowboy hero who appears fm/ [from] nowhere, & then disappears,

specifically in mind.

I: Grinding meat. Another simile = this time, the informative analytical process to which I subject all the material in this film, & to which cinematography subjects the flow of “real” PROCESSES. The camera is a meat grinder.

Replacement image for E, from Hollis Frampton’s Zorns Lemma (1970): two halves of a woman's face speak at different rates. Frame enlargement by Biff Henrich. © Hollis Frampton Estate, 1985.

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:ree aecee a a ee Boe LLLads , K: Painting a wall. Another simile = starting something & finishing it through human work. The space ends up white; the wall is the film frame.

In the course of the shot, I repeatedly breathed on the lens to fog the image, which then repeatedly clears.

L: Child swinging. The early history of film scale within a single shot,-the passage from COGITATIVE to CONTEMPLATIVE “distance”

within 1 second: Paracinematic modularity.

M: Digging a hole. Expenditure of the artifact = attrition of the artifact. One shovelfull = 1 shot. N: Beans. The film (the frame) as acontainer. When it is full, ample, replete, the task is done. The beans are anonymously modular, like leader frames. If you look closely, a mirrored image (in background) of the beans being poured, is gradually obscured by the beans themselves.

O: Bouncing ball. Four different attempts to perform a modular act (in four different times) seen simultaneously. (Every pair of Superimposed spaces also are presented—2 different TIMES. )

P: Hands tying shoes. Aperformance. 14 takes to do it in exactly TEN seconds.

The final moment of the replacement image for H, from Zorns Lemma: the walking man (David Hamilton) reappears after turning the corner Frame enlargement by Biff Henrich © Hollis Frampton Estate, 1985

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2 oe Mulvey, intercut with images of the Sphinx. The sequence opens with a shot of a : Greek vase; then there is a very brief shot of Laura seated in front of a table on which - there are a microphone, two books, a child's mug and a pencil sharpener in the form KH of a small globe; then there is a shot of another vase and a return to the set-up of 2 Laura speaking. The alternation continues with, successively: detail from Gustave ” Moreau’s ‘Oedipus and the Sphinx’/Laura/Garbo as Sphinx/Laura/profile shot of the

proceeds. |

Egyptian Sphinx/Laura/full face shot of the Sphinx/Laura/zoom-in onto the mouth of the Sphinx/Laura again. The shots of Laura become longer as the sequence

LAURA: When we were planning the central section of this film, about a mother

and child, we decided to use the voice of the Sphinx as an imaginary narrator—because the Sphinx represents, not the voice of truth, not an answering voice, but its opposite: a questioning voice, a voice asking a riddle. The Oedipus myth associates the voice of the Sphinx with motherhood as mystery and with resistance to patriarchy. In some ways the Sphinx is the forgotten character in the story of Oedipus. Everybody knows that Oedipus killed his father and married his mother, but the part played by the Sphinx is often overlooked. Oedipus set off for Thebes, turning away from Corinth, where he'd been brought up by foster parents. The Sphinx sat perched on a cliff or pillar outside the city gates; she asked every man who went past a riddle. If they couldn't answer she devoured them. Then she stopped Oedipus when he went past and when he answered her correctly, she threw herself down from the pillar and killed herself. The myth of the Sphinx took on new life after Napoleon's campaigns in Egypt, when the Great Sphinx at Gizeh was disclosed once again to Western eyes. The Egyptian Sphinx is male, but on its blank face, resonant with mystery and with death, the spectator could project the image of the Greek Sphinx. Once again the Sphinx could enter popular mythology, in the image of male fears and male fantasies, the cannibalistic mother, part bestial, part angelic, indecipherable. Oedipus is different from other Greek heroes in that he defeated the monster, not by strength or by bravery, but simply by intelligence. In his answer to the riddle, Oedipus restored the generations to their proper order, but by doing so he fell into a further trap. In his own life he disordered them —

once more by marrying his own mother. It’s almost as if Oedipus stands for | the conscious mind and the Sphinx for the unconscious. The riddle confuses and disorders logical categories and the monster is a hybrid of human, animal and bird. But reading between the lines the myth confirms women’s sense of exclusion and suppression. The Sphinx is outside the city gates, she challenges the culture of the city, with its order of kinship and its order of knowledge, a culture and a political system which assign women a subordinate place. To the patriarchy, the Sphinx as woman is a threat and a riddle, but women within patriarchy are faced with a never-ending series of threats and riddles—

dilemmas which are hard for women to solve, because the culture within which 25 they must think is not theirs. We live in a society ruled by the father, in which ; the place of the mother is suppressed. Motherhood and how to live it, or not to =

3[05%]Stones Title: Figure 32 ~ live it, lies at the roots of the dilemma. And meanwhile the Sphinx can only
through a number of generations with the aid of a motion-analyser projector, using zooms, step motion, slow and reverse motion, freeze frames, and extreme close-up (concentrating on the Sphinx’s mouth) eventually showing film grain. Music.

4 Louise’s story told in thirteen shots (Each shot is a 360° pan. Music, voice off and synch dialogue as specified. Intertitles.)

[05”] Title: Figure 4 (1)

[12”] Intertitle: Perhaps Louise is too close to her child. How much longer can she reject the outside world, other people, other demands. Her husband often [6’ 09”) Louise's kitchen. Louise prepares scrambled egg for her two-year-old daughter, Anna. The shot ends when her husband, Chris, comes home. Tight framing at work-surface height. Music, VO. Voice Off:

Time to get ready. Time to come in. Things to forget. Things to lose. Meal time. Story time. Desultory. Peremptory. Keeping going. Keeping looking.

Reading like a book. Relief. ! , Things to cook.

Keeping in the background. Fish-slice. Domestic labour. Disheartened. Burdened. Keeping calm. Keeping clean.

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Morgan Fisher

Unlike most of the filmmakers repre- ductory text provides an ironic critique of

sented in this collection (William the viewer’s expectations of cinematic Greaves and Peter Wollen are excep- text: once the continuous shot of the tions), Morgan Fisher has worked as both clock is under way, we realize that the avant-garde independent and as part of _ text has eliminated all suspense—the op-

the film industry. Indeed, for Fisher, posite (at least theoretically) of convenavant-garde filmmaking has beenawayof tional entertainments—and has informed critiquing his experiences with conven- _ us of the obvious, the opposite (again, at tional cinema and exploring the seam be- _ least theoretically) of conventional doctween the two creative arenas. Likemany umentaries. In Documentary Footage filmmakers who began making films in (1968), Fisher explores the use of text as the late sixties, Fisher was—and has re- the basis of performance. A nude woman mained—interested in the perceptual, first reads a series of questions about her

chemical, mechanical, and institutional body, written by Fisher; then, after rebasics of cinema, issues that inform both winding the tape recorder that has reindustry and avant-garde film practice. corded her reading, she answers the quesAnd he has understood text, both as writ- tions during the pauses she has left ten for performers and as graphic image, between questions. Documentary Foot-

as one of these issues. age documents the woman’s relationship Phi Phenomenon (1968) begins with a _ to Fisher’s text as it is played out in her text explaining that the entire film will enunciation of questions and answers and be an eleven-minute shot of an institu- in her body language.

tional clock. While the subsequent image Nearly all of Fisher’s films include of the clock can instigate a conceptual riff one or the other of these manifestaon the idea of the phi phenomenon (the _ tions of text, and in at least two films, psychological mechanism that causes language is a central concern. Projection successive still images on a filmstrip to Instructions (1976) is a four-minute create the illusion of motion}, the intro- film, made up entirely of a series of

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One of the instructions to the projectionist in Morgan Fisher's Projection Instructions (1976). Courtesy Morgan Fisher.

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instructions addressed to the projection- The other instance in which visual ist: each instruction is printed on the _ text is central toa Fisher film is Standard otherwise blank screen and simulta- Gauge (1985), Fisher’s ‘epic’: while the neously read on the sound track. The set film is only thirty-five minutes long, its of simple instructions—’Turn sound conceptual implications are immense. Its off”; ‘Turn sound on”; “Turn lamp off’; — subject is the entirety of film history, in-

“Turn lamp on”...‘‘Turn volume down cluding the various forms of text that

/ Turn tone to treble’; “Frame up / have been crucial during this history. Throw out of focus’’—forces the respon- Standard Gauge begins with a rolling text

sible projectionist to demonstrate the about William K. L. Dickson’s determirange of options available in the projec- nation that standard gauge for film would tion booth, thus reversing the assump- be 35mm. The fact that this rolling text

tion common to both commercial and moves a bit too quickly for comfortable independent cinema that during a_ reading suggests the velocity of early cinscreening, projection should remain, as ema history and, perhaps, the frustration fully as possible, invisible. Projection In- | that many early filmgoers felt at trying to structions simultaneously presents text keep up with intertitles. Two other forms as a graphic fact and as a script to be _ of text are crucial in Standard Gauge: the

read, and demonstrates Fisher’s belief text written by Fisher and read on the that movie sound is not simply an addi- sound track by him while he presents, tion to an essentially visual art, but that one after another, strips of 35mm film he image and sound demand each other if has collected over the years; and the texts film is to move forward: once the projec- printed on the various strips of films tionist has followed the printed/spoken themselves: these include _ subtitles, instruction to ‘‘Turn lamp off,” he orshe | words and other signs printed on leader, is dependent on the spoken instruction and texts on particular filmstrips used by

to ‘Turn lamp on.” technicians during the production of in-

dustry films but not visible in the final with frame enlargements from several of 33

product. the strips of film Fisher’s narration dis- a

narration provideswith a history cusses.on > ofFisher's his own involvement the indus-

try over the years, while his unusual @ form—after the rolling text and the title, Standard Gauge is a single, continuous

shot that uses only “recycled” imagery—is an index of his involvement with

avant-garde cinema. Fisher makes explicit and/or implicit references to Bruce

Conner, Hollis Frampton, and George Landow (also known as Owen Land). Overall, Standard Gauge is a subtle over-

view of the history of cinema from the Edison laboratories through relatively re-

cent developments. While Fisher often refers directly to mainstream develop-

ments, his history is far from mainstream. Indeed, much of his narration © refers to dimensions of industry production and history most moviegoers con-

sider marginal at best. Most of us who have run exhibition programs of classic, foreign, and independent films are well aware that film leader is full of notations that are obscure to us and our aud-

iences. Fisher’s visuals focus on many

of these notations and his narration

decodes their functions and implications: in many instances, these notations index groups of professionals whose con-

tributions to the finished film are essential, but who have been systematically “disappeared” from the ken of the moviegoing public and of most of those who service movie audiences. Standard Gauge also includes a strip of ‘“SCENE

MISSING,”’ which is cut into a work

print where an insert of some kind is to ! be added later. The ‘‘SCENE MISSING” is presented in a characteristic Fisher-es-

que gesture that simultaneously explains its traditional function and, paradoxically, transforms it into its opposite: in this film, ‘““SCENE MISSING” is part of the finished product.

The complete text and narration of

Standard Gauge is included here, along

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Rolling Text gs ‘®

In the early 1890s the laboratory of Thomas Edison invented two complementary > machines, the Kinetoscope and the vertical-feed kinetograph. The first was a coin- o operated device for viewing films, and the second was a motion picture camera to 5 make the films for it. Only one kinetograph was constructed. Both machines were made possible by a recent photographic innovation intended for use in still cameras, flexible roll film.

The Kinetoscope showed a film to only one person, who looked down at the film through a cast iron eye-piece on top of a wooden cabinet. The image, lit from beneath, was magnified two and a half times by a simple lens. William K. L. Dickson, an Edison employee, led the technical work on the new machines, as he had led the earlier motion picture experiments at the Edison laboratory. With little doubt it was Dickson who decided what the dimensions of the film for the new machines should be.

Roll film was manufactured in widths up to 3 1/2”. Dickson determined that film for the Kinetoscope could be substantially narrower and still register images large enough to provide acceptable quality. He made the image 1” wide, and set its height

at 3/4”. These dimensions were adopted virtually unchanged as the standard of the silent era, which was to last nearly forty years. The proportions they express have persisted to the present day. Dickson had to perforate the film himself, so he was free to do as he liked. He provided margins for sprocket holes on both sides of the frame and located four perforations in either edge, an arrangement that is still standard. The width of the film was 1 3/8”, almost exactly 35 millimeters. The first Kinetoscope parlor opened in New York in April 1894. The new entertainment machine was an immediate popular success. By year’s end Kinetoscopes were installed in cities large and small throughout North America. The Kinetoscope was the first machine to show films in the modern sense.

The kinetograph, the only camera capable of making films for the Kinetoscope, remained at Edison's laboratory under his control. Edison and his associates monopolized the supply of films, for which there was great demand, and charged accordingly. The Kinetoscope reached Europe in the fall of 1894. Tne brothers Auguste and Louis Lumiére, manufacturers of photographic dry plates, were struck by the popular

appeal of the Kinetoscope. They saw a business opportunity and set about con- , structing a camera that would enable them to compete with the Edison group as suppliers of films.

In the course of their efforts the Lumiéres came to understand that films could also be presented by means of projection. They abandoned their original ambition and

=e within a few months had invented the Cinématographe, a machine that could both

o take films and project them.

:

mn Although the Lumiéres broke away from the Kinetoscope, they retained the width 3 of its film, rounding it to 35 millimeters. In December 1895 in Paris the Lumiéres ° projected their films before an audience of the public for the first time. At the same time, inventors in England were stimulated first to devise cameras to make films for the Kinetoscope, and then to construct projecting machines. Their initial purpose committed them not only to Dickson’s gauge, but to every other detail of his

format as well.

Title: |

The width of 35 millimeters was established at the beginning of film, and it was , adopted by the motion picture industry in America and abroad. As other gauges made

their appearance, 35mm also came to be known as standard gauge.

STANDARD GAUGE

Morgan Fisher © Copyright Morgan Fisher 1984 Narration:

The first time | ever handled 35 millimeter motion picture film was in the summer

of 1964. The older brother of a friend of mine had been working on a film in Los Angeles, and he had brought back with him to the East Coast as a souvenir a short end of black-and-white negative raw stock. A short end is a length of unexposed film at the end of a camera load that’s too short to be used, so it’s removed from the magazine and usually discarded. | remember how moved | was at being able to handle this roll of film. In the time since then I’ve worked around 35 millimeter on and off. I've never seen a piece of 35 that | didn’t want to pick up and look at, and

sometimes I’ve been free to keep pieces that I've come across. In the summer of 1968 a friend of mine was working for the company that was going to distribute La Chinoise in this country. He spoke French, so he was given the job of preparing the English subtitles. | was in New York when the first subtitled print was ready, and my friend invited me to attend its first showing. The film had come back from the subtitling place on one-thousand-foot reels, which in 35 are only about ten minutes long. To avoid having a lot of change-overs the projectionist consolidated the one-thousand-foot reels into two-thousand-foot reels, the standard size for the projection of feature films. So he had to cut off some of the head and tail leaders, which he then discarded. Materials like this, standard formats and leaders, are invariably duplicated a great deal. Copies are made from copies that are made from copies. The loss of quality that occurs from one generation to the next is inevitable.

There were some typographical errors in the subtitles. The one | remember is that

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(Peoples of Ouatata)

They help the plants grow They promote germination A long wail tore through the air Blue veiled figures She sailed down the alley Her indigo-blue garment Flowing behind her As if for centuries

She sat there Instinctively veiling her face as the men came in _ Unveiling it as soon as they left Being truthful: being in the in-between of all definitions of truth

There was much covert peeping through the veils as we walked around looking carefully at the rooms and their details. Caught each other looking. She laughed and | laughed. Soon all the women in the court were laughing together

The earth is blue like an orange “La terre est bleue comme une orange Jamais une erreur les mots ne mentent pas" (Paul Eluard)

Sky, earth, sea, sun Air, earth, water, light Outside is as bare as inside is ornate For fifteen minutes we stood in the street, slightly off the house door, waiting until we were allowed in. Time for the men to inform the women to go back to their rooms and Stay in there all the time while the visitors were present

8g How can you explain this excitement to live in an old house? One that ages with

© the imprints of previous lives? |

=

: The severe aspect of the exterior often stands in contrast with the exuberant

5 decorations of the interior

She stepped into my room abruptly and stood there staring at me intently. | stared back at her questioningly, but she remained silent. For a long time we Stared at each other without a word; there was more fear in her eyes than curiosity. She turned away a few seconds, then looked back straight into my eyes and said: “Oil, | want some oil for cooking” Walked down the empty narrow streets and thought for a while | was truly alone. | was soon to discover blinded walls had eyes. Gigglings and laughters spurted out around me as | stopped and looked carefully at the faces that swiftly appear and disappear from the discreet openings on the wails. Or above me, from the terrace-roofs of the houses. Women, unveiled, mostly young, all share the look of intense curiosity.

(TOGO—Moba)

The world is round around the round being (Bachelard).

Religion is living without conflict “The ground level of the house interior is the underworld, the terrace-level is the earth and the granaries upper level is the sky” “Granaries elevated on the front facade ‘make the house look well’ ” The cosmic house is both cell and world (Bachelard). Each dweller inhabits the universe while the universe inhabits her space.

“dark and cool, red like the sun”

. . . untrue, superstitious, supernatural “as the sun descends, the rays enter the cattle room and touch the ancestors, speaking to them while they ask for health and protection of the family. ” The Tamberma house is a sanctuary

““these mounds are the sun; for the reproduction of human beings and the expansion of the family. ” The horns of the entrance and the mounds are the focus of sun ceremonies

Upon entering, we stepped into a somber central room where | could smell and 8 3 hear a cow munching on my left; we then climbed up to the tiny oval kitchen lit 3

terrace root of the house. | =

by the soft morning light that came in from the upper portal leading to the a Entering the womb of the earth, sheltered from heat and sun, from rain and > wind, from all other living creatures

“The earth is round. We all know that. No part is longer than the other. ” When we enter, we enter the mouth—the door— When we exit, we step out onto the large calabash—the court-

we call it the Vault of Heaven.”

The house opens onto the sky in a perfect circle Rhythms are built into the way people relate to each other

(Tamberma) | “We call ourselves Batammariba, ‘the people who create

well with earth, the people who are builders,’ ”

the designers, the architects , Tribute to the dead

“We say the placement of the house is that which is important” “A house is beautiful when its back is not coming out” “Not too high, not too low, not too far outside nor too far inside. His house is really smooth. He knows how to build, he does not leave his finger marks” (A Tamberma architect, according to S. P. Blier)

She who wears an antelope headdress is said to portray the deceased's daughter Third act for a funeral drama. Funeral performances are referred to as plays; the house of the deceased being the stage, a group of skillful performers, the actors, and the villagers in attendance, the critical audience. Drums, flutes and horns are the voices of the ancestors.

“sun’s house is a circle. This is what we have been told” “sun protects us all. Like mother it brings out children.

x Like father it has wives, the earth and the moon” ,

e lines are visible” | = “it is beautiful because his fingers leave lines and his

beautiful”

° “if the woman plasters the walls such that from far away

you don’t see the different levels, we say the house is

The egg-shaped granaries are raised above the terrace at the houses’ front corners, closest to the sky, their opening facing the sky god who provides rain

for the grain (according to S. P. Blier). ,

(Kabye) | People of the earth | “When you climb it, it leads you to the sky.” The sky is like a tree; it is formed from the branches of a huge tree

“The more profound a believer the black man is, the more |

tolerant he proves to be” In one of the rites in initiation during which a man is born again in his community, the initiate has to go naked, his body painted with red earth, color of the newly born.

(Konkomba) | } “A village that neglects music and dancing is a dead

village” Red: a warm limitless color that often acts as a sign of life Black: an absence of light, of sun, therefore of life, color

Truth or fact? a In many parts of the world, white is the color of mourning |

Poetry becomes only poetry when | become adept at consuming truth as fact “The house like a woman must have secret parts to inspire desire” (according to Ogotemmeli)

Unadorned she is not desirable. Adornment excites love. If ¥ 3

there is a connection between ornaments and love, that is 3 because the first ornaments of all were in the centre-jar a of the celestial granary; and that jar is the symbol of the .

world’s womb (according to Ogotemmeli) 7 me

In certain societies where sounds have become letters with sharps and flats, those unfortunate enough not to fit into these letters are tossed out of the system and qualified unmusical. They are called noises. /t is known that one of the primary tasks of ethnomusicologists is to study what traditional societies consider music and what they reject as non-music. A music bound up with movement, dance and speech, one in which the listener becomes a coperformer, one that has no overall form except one of continually recurring sequences of notes and rhythms, one that plays endlessly—for nobody has enough of life—has been repeatedly called elemental or rudimentary. Is irritable to most Westerners’ ears. The sound of a swelling cry of ululation

That high wail that speaks her joy, excitement or grief | lam inhabited by a cry Joy sorrow anger it curls out Sharp and vivid in the night Inhumanly human The cry | hear, she said, is from the other side of life Deeper insight always entails moments of blindness

(MALI—Dogon)

“Step into the footmarks of your ancestors. Tradition may weaken but cannot disappear. ” A Dogon prayer Scale as an element to impress, to dominate or to speak up a mutual vulnerability?

A journey in these villages may have a cathartic effect, for a man seeing a hundred-storey building often gets conceited There is also a way of viewing nature as a challenge to man’s conquest; therefore, of seeing in the smallness of man and woman a need for im-prove-ment

images from Trinh’s Naked Spaces—Living Is Round, arranged by Trinh. Courtesy Trinh T Minh-ha

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Ogo, the first who stood against God Amma, and introduced no

psychological diversification in the universe, was trans- 3

formed into a Fox and thus reduced to speaking only with its “

paws on the divination tables = as

The figures are drawn on the smoothed sand by the diviners before sunset. rd The Fox which comes out at night, is lured onto the tables by means of peanuts which the diviners have carefully scattered over them. The next day, the diviners will come back to the site after sunrise to read the traces left by the Fox. Their interpretations vary according to the latter's itinerary whose imprints may join, border, or avoid the figures. The divination table is the Earth turning under the action of the Fox’s legs.

The divination table is the Earth turning under the action of the Fox’s legs. How ‘very much content am | to lie low, to cling to the soil, to be of kin to the sod. My soul squirms comfortably in the soil and sand and is happy. Sometimes when one is drunk with this earth one’s spirit seems so light that one is in heaven. But actually one seldom rises six feet above the ground” (L. Yutang)

“When you climb it, it leads you to the sky. The sky is like a tree; it is formed by the branches of a huge tree”

Togu na: “the mother’s shelter,” “the house of words, ” or “the men’s house” is the reference point for every Dogon

village

The life-force of the earth is water The remaining facade of the large house with its eighty niches, homes of the ancestors Reality and truth: neither relative nor absolute ! can't take hold of it nor lose it

When | am silent, it projects , When ! project, it ts silent

““The calabash is a symbol of woman and the sun, who is

female” Signs are things that move about in the world Signs are the things of all men and women

Lg 11616 signs express and indicate all things and beings of the universe as well

: as all possible situations seen by the Dogon men

an Each sign opens onto other signs 3 Each sign contains in itself a summary of the whole

° And the drop is the very ocean

The Dogon house is said to be a model of the universe at a smaller scale and to symbolize man, woman and their union. The central room, the store rooms on each side and the back room with the hearth represent the woman lying on her back

with outstretched arms, ready for intercourse as the communicating door stays open. The ceiling of the central | room is the man and its beams, his skeleton. The woman and the man’s breath finds its outlet through the opening on the roof (according to Ogotemmeli)

(BURKINA FASO—Birifor)

Spider web and dust have aged with them

dusk” | dark” :

“Bathed in the sunlight, one after the other they took turn

to speak to the sun, keeping in touch with it from dawn to The sun touches them as they ask for health and protection of the family

“It is beautiful because when you enter you see there where

the sun penetrates, where there is light, and the rest is Houses with a sculptured head on the roof are said to belong to hunters

The supernatural, term widely used in pro-scientific milieu, iS an

anti-scientific invention of the West, a wise African man observed (Boubou Hama)

The diagnostic power of a fact-oriented language

The sky is A calabash

The water jar is A woman’s womb

Blindness occurs precisely during the short moment of adjustment; when, from £3 full sun we step into the dim inside. Abrupt transition from bright to dark for a 3

change. To advance, we must go sightless, time to cross an immaterial a

threshold that links the social to the personal =

The dead are not dead d When night constantly floats in certain parts of the house

It never appears to me in its totality. Here, a small round hole; there, a carved

ladder leading up to the source of light; a wall; another wall; a bench; a straw . mat; her water jar; a long dark room ending in several nest-like spaces. The whole thing is scattered about inside me. | can only see it in fragmentary form.

An act of light lets day in night Makes far nearer and near farther Why is it so dark?

Everything is at the same time transparent and opaque | Irreducibly complex in its simplicity

Not really a dwelling or a living space as an observer said, because of the overall absence of windows When men go hunting in parties they know the rules of precedence; they know him who is higher than another; they understand when one says "| speak, you remain silent’. . . There are dangerous things in the bush and a small quarrel may bring many arrows (V. Aboya, according to Rattray) Before the hunters set forth, they were told this by the man in charge of the hunting parties:

“If we meet a lion, let it be like cold water if we meet a leopard, let it be like cold water if we meet a snake, let it be like cold water | but if a man wishes to quarrel while out hunting,

let him get headache and belly-ache, ,

so that he may have to return home” (according to Rattray) (Voice stammers on ‘anthropological’) An anthropo... an anthropo... an anthropological shot: one that turns people into human species

| Both ancestors and children are ‘builders up of a compound’ When aman dies, his son, upon sacrificing a sheep, will ask this man to join his father and grandfather in guarding the

ng house properly. When a man has no children, he is sometimes o laughed at, and told “what are you, if you were to die, they = would break down your house and plant tobacco in it. ” Hs (V. Aboya according to Rattray) ” A light without shadow generates an emotion without reserve (R. Barthes) Entering and exiting as love-making. The door remains open, for a house with a door closed is an infertile house

It is by way of the ‘house hole’ that the rays of the noon Sun enter into the house to look at the family and speak with them. Family eats around it. The food cooked and spilled while eating are so much offered to the Sun. Women give birth under it to secure the Sun’s blessings.

straw , The house like a woman must have secret parts to inspire desire oo

The womb image of the house The nest-like power of curves

Floating around in these dark spaces is the subtle smell of clay, earth and

There is a saying that “aman should not see all the dark

corners of another’s house. ” a

“If life be called the life-blood of a space, darkness could be called its soul” ,

Color is first and foremost a sensation

“The house’s eyes. It looks out and sees like a woman. ” A male is buried east, a female facing west.

(Bisa) |

“Aman faces eastward, that he may know when to rise and hunt. A woman looks to the west, that she may know when to prepare her husband’s food” (V. Aboya, according to Rattray) |

The world is round 7

Are you seeing it? Hearing it? Or projecting it? |

Unadorned, she is not desirable. Adornment excites love. BS If there is a connection between ornaments and love, that 2

is because the first ornaments of all were in the 7" centre-jar of the celestial granary; and that jar is the =

symbol of the world’s womb (according to Ogotemmeli) rd The earth is an overturned calabash. For the death of a man or a woman, the priest sprinkles in the air earth taken from the center of the circle formed by the calabash while making a circle around the house

here, patience is one of the first rules of education Orange and blue; warmer or colder; more luminosity, more presence. Timing acts as a link between natural and artificial light.

The earth is blue like an orange

You can’t take hold of it, but you can’t lose it So please let the smoke go and let the seed die to its outer shell Be a stranger to myself No matter what we call it, we will miss it Relieved of so many words, we went naked

Objects in her surrounding. ... The naming of spaces rarely refers to their function. It refers instead, to the various parts of the human body.

The house is composed like the human body: the earth or clay

is the flesh; the water, the blood; the stones, the bones; and the plastered surface of the walls, the skin Sun rolling in space “The bobbin, which is wound off in spinning is the sun rolling in space” (according to S. P. Blier)

(BENIN—Fon)

They call it giving. We call it self-gratification. We call it self-

gratification.

They call it give-and-take. We call it take-and-take. We call it

take-and-take.

They call it generosity. We call it conditioning the beggar’s mind.

x We call it conditioning the beggar’s mind. : Today, to survive the poor can hardly refuse to accept

= They say they don’t give anymore

S Because we are ungrateful

3 The ungrateful acceptor / The expecting donor

” They say they don’t give anymore because we are ungrateful. We ponder: will the donor species survive? We substitute expectation for hope and easily speak about “falling short of" or “failing to come up to” our expectations Strategies of rupture and incorrectness need some airing A cloud of oratorical precaution / Fear Fear of making / out of a crystallized |!

Any expectation, even that of peace, brings restlessness Questions and answers: a mutual deception Life on the water Never can one walk home and feel the contact of solid, secure ground Floating, flowing constantly

The house suspended between water and sky

What they name generosity / arrogance A mutual deception

You should be able to accept with simplicity / simply accept

From we, us, who are neither a source of authority nor a

seal of authenticity They see no life / When they look They see only objects The dead are not dead Humble enough to accept without trying to return

Be a stranger to myself

And the drop is the ocean | The earth is blue like an orange

An To instant’s be livedfreezing directlya3 3

Silence: people having faith in each other =

Void is always capable of being tilled by solid 3

And | look at the myriad of reflections rf fhe entire lake within me Unable to quench it Quench an endless thirst

The charm of its nudity lights up our desire for both retreat and expansion The more naked the space, the more it fires my imagination Blue like an orange And orange becomes blue Earth becomes Sun Sun becomes Water Water becomes Sky And blue becomes orange, like the Earth

(SENEGAL—Peul)

The circle is the spirit in eternal motion While giving there is no thought of giving While accepting there is no thought of accepting “Who could ever think of the gift as a gift that takes?” (H. Cixous)

Going beyond logic to experience what is large in what is small Clear, simple, irreducibly complex in its simplicity To build out of dwelling

A philosopher observed that ‘man’s homelessness consists in this, that man still does not even think of the rea/ plight of dwelling as the plight” (M. Heidegger)

We dwell altogether unpoetically But dwelling can be unpoetic only because it is in essence poetic (Heidegger)

Have you seen such a look in a child’s face? Such a look? A sunlit smile that sticks in your eyes

Spirit in eternal motion

bg For many foreign observers, these people have no notion whatsoever of the ® private garden. This is hardly surprising: there is no point in fencing off a piece = of land as one’s own; their houses are situated such that wherever they wander

: they own the entire landscape. 3

The earth is an overturned calabash

(Joola)

they are holding in their hands Femininity, water and light people of the earth Those whose serenity of understanding and simplicity of spirit is the despair of bigger men

The reason two deer walk together is that one has to take the mote from the other’s eye (Proverb)

“Life with its rhythms and cycles is dance and dance is live” (Opoka, according to J. M. Chernoff) - The Joola people: renowned for having raised a fierce armed resistance to the French colonial administration at the start of the century

For the one who travels in this restfully green part of Senegal today, the , Casamance, the dreamland of research workers and tourists alike, it is quite difficult to imagine no foreigner had dared to venture here without an armed escort a few decades ago. Light, air, earth, woman, palm leaf, dust, children

Space has always reduced me to silence They can't really afford this, they said But bought it anyway Flew to Africa

And waited with an anguished excitement For the paid shock of exoticism

A Joola proverb says: “those who are proud of their nudity will be insolent once clothed”

This is not a fact

Light, air, people, sound 8S The impluvium: a house built around an inner court with an inwardly inclined 4

roof and as some said, ‘‘a tank to catch rainwater” =

Some call it the ‘‘Senegalese Florida,” ideal for the visitor who hungers for 4 tropical adventures made to measure

A life-generating power , “A house without a fence is not a house, ” the old man says An earthen castle, according to a tourist guide book

A sun chapel ,

A place for communion / Sharing

They took turns to speak to the sun, keeping in touch with it from dawn to dusk “The dead are often buried in their own rooms which will remain locked forever. The room will crumble with time on the grave” Infinitely secure in its nudity / Insecure in its infiniteness

A damaged house is a damaged family. Very often, family and house bear the same name. Femininity, water, and light An interior court A time clock /A sun chapel A reserve of air, light, water

Each woman prepares her own meal. Each household has its own hearth located all around the court under a circular covered gallery A pit

A tank for catching rain water A place for reunion A place for rest and conversation

Music rests on accord between darkness and light Every religion is based on a lie device All methods may be viewed as lies At best, they create a situation

8g Rhythm creates a storage of energy = Eager for an indigenous answer, someone walked around asking: “What is s music?’ People would look at him as if he had said something funny or 3 strange. They would laugh and say: “Don’t you know?” “A dance that does not attract many villagers and foreigners from afar is said

to turn out badly, for the spirits have not come to attend it”’ , The animation of a dance is a sign of the spirits’ presence. Dance and music form a dialogue between movement and sound. One who hears the music understands it with a dance. The dancers do not imitate or express the music heard; they converse with it and dance to the gaps in it. Both marked and unmarked beats. A different beat, one that is not there, one that you add because you feel it and fit it in. Your own beat. Your own move. Your own

reading. ,

lt usually signals arrest and has long been forgotten as a wind instrument. |

The whistle here is a musical cue for change , |

Dramatic action is stimulated by the flute-, horn-, whistle- and bell-players who

do not form part of the drum ensemble. They wander round the circle of dancers, blowing, striking a few notes on their instruments to urge them on

A drummer explains that one should not breathe too strongly while performing if one does not want to miss the rhythmic formulas and to get tired too quickly. One should

take in reserves of air during the pauses, between each | dance Every illness is a musical problem

“My wrist is fast”: that is not drumming. As you are , beating, it is your heart that is talking, and what your , heart is going to say, your hand will collect and play. And unless you cool your heart, your drumming will not stand. When your heart cools, your arm will cool too, and as you are bringing your strength, you will also be leaving it. At that time, the drum will cry well. .. . The one who has learned to play well can beat a drum and the sound will oo spread out and you will hear it vibrating inside the ground. But the one whose heart gets up and he is beating hard, his drum will not sound. “Drumming has no end,” the drummer said. “No one can know everything about drumming; everyone knows only to his ©

images from Trinh’s Naked Spaces—Living Is Round, arranged by Trinh Courtesy Trinh T. Minh-ho

hh Reet . ; Be So . ee

ae

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: ; ‘ oy &

ge extent. If you know everything, what are you going to do and . know it?” . . . In our drumming way, no one blames another. = If someone doesn’t know, you don’t say “this man does not H know. ” If you say that, you have demeaned yourself. Maybe 3 as you say you know, someone too knows better than you, and ° as you are bending down looking at someone’s anus, someone

is also bending down and looking at yours. ” (i. Abdulai, according to Chernoff)

Su Friedrich

Since the early eighties, Su Friedrich has _ the mid-thirties, Len Lye was a master of seen her cinematic project as a process of the technique. Indeed, Stan Brakhage’s consolidating types of independent film- _hand-scratched titles and ‘by Brakhage”’ making usually (at least in North Amer- were very much a part of Friedrich’s con-

ica} considered distinct, as a formal sciousness as she was making Gently means of coming to terms with troubling Down the Stream.

dimensions of her personal experience. What distinguishes Gently Down the Beginning with Gently Down the Stream Stream {and the closely related But No (1982), one of the elements she has used One, 1983) is Friedrich’s decision to use inventively is visual text. Gently Down _ scratched texts—and the imagery viewers the Stream incorporates a series of texts imagine on the basis of them—as the based on dreams recorded overaperiodof “foreground” of a film, and photographed months and etched, one word at atime, imagery—specifically, shots of religious into the emulsion of the filmstrip. Of icons, images of one woman in a rowing course, neither the idea of using dreams machine, another swimming, and of the in film, nor the idea of etching words wake of a boat—as “background,” in this

directly into the filmstrip, is new. case, a set of metaphors of our voyage Dreams—and the psychic mechanisms of down Friedrich’s stream of consciousdreams—have been an important compo- ness. Friedrich’s sense of timing and the

nent of avant-garde cinema since the nuances of her recording the scratched twenties, and the idea of scratching texts (texts relating to women are filmed and/or painting the filmstriptocreateim- so that the words quiver with anxiety, agery and of incorporating visual text texts relating to men are less energetic} within such imagery is nearly as old: by are also distinctive.! 1. In 1982 Friedrich designed and published a book version of Gently Down the Stream, which includes the complete text and many frame enlargements. The book is available from Friedrich, 222 East 5th St. #6, New York, NY 10003.

4 WD While Gently Down the Stream en- milial background, since her father is a . e codes the psychic struggle within Fried- well-known linguist, and to her cine- rich between her Roman Catholic up- matic background: it recalls—and in a 2. bringing and lesbian desire, her first sense responds to—Zorns Lemma. : longer film, The Ties That Bind (fifty-five As is true in all her sound films (all the ‘o minutes), is an index of her attempt to films since The Ties That Bind have had come to terms with her German heritage. soundtracks}, Sink or Swim edits imagery Friedrich uses hand-scratched texts as a and sound (in this case narration} so that

way of cinematically questioning her a wide range of explicit and implicit remother about her experiences growing up __lationships between them become eviin Germany during the rise of the Third dent. During the reading of ‘‘Zygote,”’ for

Reich and of interpreting her own expe- example, Friedrich uses a montage of riences during trips to Germany to visit shots of sperm, of ova, and of fertilization

her familial origins and to the Seneca’ and cell bifurcation—imagery recycled Army Depot in upstate New York totake from educational films—to accompany part in a women’s anti-military demon- the child narrator’s story about Greek stration. Asin Sols Thisand Gently Down mythological figures, Zeus and Hera. the Stream, Friedrich’s one word atatime Friedrich times her presentation of the presentation of her questions and com- __ image of a sperm fertilizing an ovum and

ments engages viewers in the construc- the resulting bifurcation of cells so that tion of meaning: her questions become __ they correspond precisely to the young our questions. Her mother’s candid re- _ girl’s description of Zeus’s marriage to sponses allay Friedrich’s superstitions by Hera and of his subsequent love affairs revealing something of the trauma of be- and illegitimate children. In general, the ing anti-Nazi in Germany in the thirties _film’s subtle and complex relationships and during World War II, and of the sub- of image and sound require multiple sequent traumas of being ‘“‘liberated’”’ by viewings.

the Allies at the end of the war and being In her next film, First Comes Love divorced by Friedrich’s father some years (1991), Friedrich uses a rolling text mid-

after emigrating to the United States. way through her presentation of imagery Since The Ties That Bind, Friedrich of six weddings (accompanied by a variety has not used scratched texts, but in of songs about love and marriage} to reDamned If You Don't (1987), she com- frame the meaning of the marriage ritual. bines excerpts of Judith C. Brown’s Im- As the various couples reach the altar, modest Acts: The Life of a Lesbian Nun and the priests presumably read the text in Renaissance Italy (New York: Oxford — of the marriage ceremony, Friedrich sub-

University Press, 1986) with a series of | stitutes her own ritual text, which in-

other narrated texts. And in Sink or forms viewers that gay and lesbian Swim (1990) she combines a series of marriages are illegal in the following short narratives, each spoken by a young countries, and then lists all the countries girl, and a set of visual words arranged in ina vertical column that seems to roll up reverse alphabetic order—"Zygote,” “Y through the frame endlessly. At the conchromosome,” “X chromosome,” ‘“Wit- clusion of her ‘‘ceremony,” Friedrich reness’’. . . —into a conceptual structure turns to the marriage footage and follows

that allows hertocometoterms withher the couples as they exit and leave the father’s divorcing Lore Friedrich and church. At the end of the film, a final leaving the family when Friedrich was a__ visual text indicates that Denmark isthe |

7 child. The choice of the alphabet as a single nation where gay and lesbian marformal structure relates both to her fa- _ riages are legal.

What follows arean‘(Script) for a Filmnm be without Images,” early film-related poem thatThat provides background The Ties Bind useful and Sink or Swim; for the © complete dream texts from Gently Down ~. sO the Stream; and the script of Sink or Swim.

The complex, subtle intersections of the

narration and the movement of Friedrich’s visuals in Sink or Swim cannot be

effectively illustrated here. I’ve used stills to suggest some sense of this dimension of the film.

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