Exploding Cinema 1992 - 1999, culture and democracy

 
Stefan Szczelkun PhD Thesis RCA 2002

 

CONTENTS

 

Acknowledgements + publishing provenance

 

List of Illustrations (mostly under 100Kb)

 

Abstract

 

0.00 Introduction      

         

0.00 Introduction

0.01 Theoretical Preview

      0.02 Preliminary thoughts on methodology: Reflexivity

                                   

Section A: Historical Provenances

 

1.00 Chapter 1: Collective Provenance: authorial reflexivity

           

1.00 Introduction

1.01 Portsmouth Artsworkshop 1968/69

      1.02 The Scratch Orchestra 1969/71

      1.03 Earthworkshop 1973

      1.04 New Dance Magazine Collective 1976/78

      1.05 Brixton Artist's Collective 1983/87

      1.06 Bigos, artists of Polish origin 1986/98

      1.07 Mail Art 1984 into the Nineties

1.08 Working Press, books by and about working class artists 1987/97

1.09 Self-Build Housing co-op

1.10 Conclusion

           

Chapter 2: Film Provenances of Exploding Cinema

         

2.00 Introduction

2.01 Early Cinema to Exploding Cinema

      2.02 The North American Underground 1960s

      2.03 British Counter Culture and film 1960s & 70s

      2.04 An Underground Cultural Resurgence: the Eighties

      2.05 David Leister's Armchair Cinema & Kino Club: a case study

      2.06 Amateur Film/ Home Movies/ Underground film:oral culture?

 

Section B: Theoretical Frameworks: Culture and Habermas

 

Chapter 3: Cultural Expression, Democratic Consensus  

         

3.00 Culture understood as a process of coming to agreement

      3.01 Culture and the Five(not) Senses

      3.02 Literary versus Oral culture

      3.03 Democracy and culture

         

Chapter 4: Habermas, Communication, Discourse and Democracy

         

4.00 Habermas and the Western Marxist Tradition

      4.01 Habermas' Theory of Communicative Action (TCA)

      4.02 Habermas' TCA: Max Weber's rationality critiqued

      4.03 Habermas' TCA: Mead & Durkheim

      4.04 Habermas' TCA: Lifeworld & System

      4.05 Habermas' TCA: Reason and rationality redefined

 

Chapter 5: Critiques of the Theory of Communicative Action

         

5.01 Foucault and the power critique of TCA

      5.02 The aesthetic judgement critique of TCA

      5.03 Conclusion

 

Section C: Five Methodologies: Data Collection and Selection

 

Chapter 6: Content Analysis: collective and filmmakers                    

6.00 Introduction to Content Analysis

      6.01 Attendance at Exploding Cinema Meetings

      6.02 The most active Filmmakers

      6.03 Numbers of Women

6.04 Tables of attendances at meetings 1992 - 99 (Mostly c100Kb)

6.04a 1992

6.04b 1993

6.04c 1994

6.04d 1995

6.04e 1996

6.04f 1997

6.04 Attendance summary A 1992 - 1999

6.04 Attendance summary B 1992 - 1999

6.05 Table of films shown by collective members 1992 - 99

 

Chapter 7: Semiotic Analysis: programmes and imagery      

           

7.00 Introduction to the Exploding Cinema programme

      7.01 The Chapbook: A historical perspective

      7.02 Semiotic Analysis an introduction

      7.03 The Lexical Semiotic of Roland Barthes

      7.04 Kress and Van Leeuwen's Grammar of Visual Design

      7.05 The Imagery in the programmes (1992 Ð 1998)

      7.06 Iconographic comments on selected image groups

      7.07 Semiotic analysis of four selected page openings

      & Conclusion

 

Chapter 8: Participant Observation: open access and independence        

8.00 Introduction to Ethnographic Method

      8.01 Methodological considerations: Intrusion

      8.02 Methodological considerations: Subject positions

      8.03 Methodological considerations: Recording methods

      8.04 Methodological considerations: Interpretation

      8.05 Methodological considerations: Ethics

      8.06 Main themes: Open Access: ethos and reality

      8.07 Main themes: Finance and independence

      8.08 Main themes: Observations on group identity

8.09 Conclusion

                                          

Chapter 9: Oral History Interviews (1999):

the biographical background of the collective                                      

9.00 Oral History Methodology

      9.01 The Interviews: introduction

      9.02 The Interviews: Ethnic backgrounds

      9.03 The Interviews: Educational and Class backgrounds

      9.04 The Interviews: Cultural influences

           

Chapter 10: Archival History: synchronic and diachronic accounts

10.00 Introduction: history & methodology

10.01 Cooltan and the Cinema CafŽ 1991/92

      10.0a   Division of labour 1991 Ð 1999

10.02 Las Casas 1992

      10.0b   Programme Texts 1992 Ð 1997

10.03 The Jugglers Arms 1993

      10.0c   Politics and Policies 1991 Ð 1999

10.04 The Lido Show (August 1993)

            10.0d   Collective split (1994 - 1996)       

10.05 Union Tavern (1993 - 1994)                               

            10.0e   Continental Touring (1993 - 1998)

10.06 Venue Miscellany  (1994 - 1996)                     

            10.0f   Filmmakers & performers (1992 - 1997)

10.07 Ritzy Shows - (1995 & 1996)                 

            10.0g   Volcano! (1996 - 1998)                       

10.08 Three venues - (1997 - 1998)   

            10.0h  The audience (1991 - 1999)                           

10.09 The Roof Shows (1997 & 1998)   

 

Chapter 11: Overall Conclusions:

11.00 Conclusions                                                                                  

Bibliography                                                                                                             

APPENDIX a held by BFI (London) Special Collections Department.

 

Appendix b. Alphabetical List of film-makers and films shown to 1997.(1.2 Mg)

 

ARCHIVE material held by BFI (London) Special Collections Department.

 

Author contact: stefanREMOVEukart.com