JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

 

 

Notes

1. P. Adams Sitney, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson (Oxford and New York: Oxford University Press, 2008), 24. [return to page 1 of essay]

2. Stan Brakhage, Film at Wit’s End: Eight Avant-Garde Filmmakers (New York: McPherson, 1991).

3. Scott MacDonald, “Avant-Gardens,” in Women & Experimental Filmmaking, ed. Jean Petrolle and Virginia Wright Wexman (Urbana and Chicago: University of Illinois Press, 2005), 208-237.

4. Sitney, 21-47.

5. Melissa Ragona, “Swing and Sway: Marie Menken’s Filmic Events” in Women’s Experimental Cinema: Critical Frameworks, ed. Robin Blaetz (Durham: Duke of University Press, 2007), 20-41.

6. Walter Benjamin, translated by J.A. Underwood, The Work of Art in the Age of Mechanical Reproduction (London and New York: Penguin Books, 2008), 6.

7. Ralph Waldo Emerson, Ralph Waldo Emerson: Essays and Lectures (New York: Library of America, 1983), 33-34.

8. Ragona, 35.

9. Benjamin, 29.

10. Ragona, 36.

11. Sitney, 37.

12. Sitney, 36.

13. Matthew Tinkcom, Working Like a Homosexual: Camp, Capital, Cinema (Durham: Duke University Press Books, 2002), 6.

14. Tinkcom, 11. His definition is derived from Hannah Arendt’s discussion of labor in The Human Condition.

15. Ragona, 36.

16. Ragona, 34. [return to page 2]

17. Tinkcom, 27.

18. MacDonald, 211.

19. Sitney, 35.

20. Sitney, 32.

21. Benjamin, 29.

22. Sitney, 27. Sitney notes Menken’s playful self-evaluation in contrast to Deren, Brakhage, and Warhol while quoting Brakhage’s Film at Wit’s End where he describes Menken’s lighthearted yet self-reflexive treatment of her own position.

23. Sitney, 24.

24. Brakhage, 46.

25. Tinkcom, 12-13.

26. Tinkcom, 24.

27. Sitney, 40.

28. Sitney, 25.

29. P. Adams Sitney, Visionary Film: The American Avant-Garde 1943-2000 (Oxford and New York: Oxford University Press, 2002), 161.


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