“With 8mm you have all the immediate potentiality of the powers of a sketch. You have that brevity, the quickness, the lightweightedness of the camera, that expendability of it. Nothing in the area of 8mm will ever be in the consideration for prizes or awards.”
We’d seen some of Conner’s movies during the Co-op days but it is this lecture by Stan Brakhage on Conner at the School of the Art Institute of Chicago, April 1973, that gives you a greater understanding of him as an artist. There’s links to videos.
In 1986, I heard that the legendary Colorfilm laboratory liaison Bill Gooley was dying of cancer. I had met him a few times so I knew had to tell his story for Cinema Papers. Somewhat anxiously I rang him to see if he’d like to talk for the Technicalities section.
A Polaroid to remember things by: editing from 1/2 Sony portable to 1/2 inch mains deck. TV sets were our monitors- using the RF (antenna) input not many had a video line input, couch cushions were our tilt bases.
These photographs were taken in a city jazz – folk club in 1970? Frank wasn’t expecting me (well, he was but he’d forgotten. I had asked if I could photograph him some days before) and he said he was happy to help a photography student. Video links included.
John Hughes has got it almost right in his piece on the rise and fall of the film cooperatives. I’m conspicuous by my absence but it doesn’t matter and I’m grateful for him documenting things I’ve stopped remembering.
That’s John Grierson. He was held up to us as we did our Film Studies at RMIT Photography School, as sitting on the right hand of the film gods. I was an eager convert to the Church of the State Film Centre.