{"id":16636,"date":"2024-07-23T20:00:18","date_gmt":"2024-07-24T00:00:18","guid":{"rendered":"https:\/\/deeperintomovies.net\/journal\/?p=16636"},"modified":"2024-07-15T14:32:25","modified_gmt":"2024-07-15T18:32:25","slug":"vogel-11-stephen-dwoskin-and-structuralism","status":"publish","type":"post","link":"https:\/\/deeperintomovies.net\/journal\/archives\/16636","title":{"rendered":"Vogel 11: Stephen Dwoskin and Structuralism"},"content":{"rendered":"<p><strong><em>Color Film<\/em> (1971, Standish Lawder)<\/strong><\/p>\n<p>A reminder that experimental film is actually fun to watch.  We re-read the chapter on minimalist\/structuralist film in the Vogel, then watch &#8220;a fine example of pure minimal cinema,&#8221; expecting the camera to just be facing a wall or something, and instead I get a blast of color and movement set to a raucous Zappa song.<\/p>\n<p><img decoding=\"async\" src=\"\/journal\/image24\/vogel1101.jpg\"><\/p>\n<p>&#8211;<br \/>\n<strong><em>Eisenbahn<\/em> (1967, Lutz Mommartz)<\/strong><\/p>\n<p>Not fun but surely hypnotic, facing square out a train window.  Occasional edits, and light obstructions when we can clearly see the cameraperson&#8217;s reflection, but I&#8217;m not dedicated enough to get a still frame of those.<\/p>\n<p>&#8211;<br \/>\n<strong><em>Naissant<\/em> (1964, Stephen Dwoskin)<\/strong><\/p>\n<p>The same length as the train movie, both of them bringing to mind Vogel&#8217;s comment &#8220;there is no aesthetic reason for the film to last nine minutes instead of ninety&#8221;  Funny to watch this the day after <em><a href=\"\/journal\/archives\/16635\">Je Tu Il Elle<\/a><\/em>, as it&#8217;s a long wordless focus on a seemingly troubled dark-haired girl sitting in bed.  No bag of sugar or letter writing, and this movie stays closer to her face and cuts far more often. The girl is Beverly Grant, a major underground actress who was in <em>Flaming Creatures<\/em> the year before.<\/p>\n<p><img decoding=\"async\" src=\"\/journal\/image24\/vogel1102.jpg\"><\/p>\n<p>Vogel also points to <em>Kiss<\/em> and <em>Sleep<\/em> by Warhol, but instead let&#8217;s watch more Dwoskin (I&#8217;ve only previously seen his <em><a href=\"\/journal\/archives\/8063\">Dirty<\/a><\/em>).<\/p>\n<p>&#8211;<br \/>\n<strong><em>Soliloquy<\/em> (1969, Stephen Dwoskin)<\/strong><\/p>\n<p>Almost a remake of <em>Naissant<\/em> but this time we see mostly her hands, and we hear her thoughts in voiceover.  She&#8217;s divorced, depressed.  &#8220;I wish I were pretty.&#8221;<\/p>\n<p>&#8211;<br \/>\n<strong><em>Moment<\/em> (1968, Stephen Dwoskin)<\/strong><\/p>\n<p>Close-up with no editing this time.  Another dark-haired girl, smoking and masturbating.  Who needs Warhol, anyway?  The soundtrack is some kind of horrible industrial howl.<\/p>\n<p><img decoding=\"async\" src=\"\/journal\/image24\/vogel1103.jpg\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Color Film (1971, Standish Lawder) A reminder that experimental film is actually fun to watch. We re-read the chapter on minimalist\/structuralist film in the Vogel, then watch &#8220;a fine example of pure minimal cinema,&#8221; expecting the camera to just be facing a wall or something, and instead I get a blast of color and movement [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[74,147,21,3285,1617,294,2852],"class_list":["post-16636","post","type-post","status-publish","format-standard","hentry","category-movie","tag-avant-garde","tag-frank-zappa","tag-shorts","tag-standish-lawder","tag-steven-dwoskin","tag-trains","tag-vogel-subversives"],"_links":{"self":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/16636","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/comments?post=16636"}],"version-history":[{"count":1,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/16636\/revisions"}],"predecessor-version":[{"id":16657,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/16636\/revisions\/16657"}],"wp:attachment":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/media?parent=16636"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/categories?post=16636"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/tags?post=16636"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}