Sorry, Fred, here I disagree with you.
I'm sure the Hollywood folks could have added many other people (many of them worthy) to the list of those recognized in that memorial moment, too. But that three of those recognized--George Kuchar, Tim Hetherington, and Ricky Leacock--are makers who worked outside Hollywood, as independents, is certainly cause for celebration. It means that, in a however limited way, independent filmmakers are being recognized more broadly, as they so rightly deserve. That Saint Mark Toscano, working at the Academy, has seen to the preservation not only of Brakhage's films but Robert Nelson's, and the work of so many other independents is part of that same recognition.
Like it or not, the Academy is one of few organizations devoted to cinema that has the clout to provide broad recognition, and I was thrilled to see their images on my TV screen on primetime Sunday night. Kudos to the Academy for recognizing Kuchar, Hetherington, and Leacock.
Scott
-------- Original Message --------
Subject: Re: [Frameworks] Kuchar on the Oscars
From: "Fred Camper" <f...@fredcamper.com>
Date: Tue, February 28, 2012 7:44 pm
To: "Experimental Film Discussion List"
<frameworks@jonasmekasfilms.com>
> Yes Owen Land, Ricky Leacock, and Jordan Belson as well.
Oh, why not Hollis Frampton, and Stan Brakhage, and Gregory J.
Markopoulos? Or Oscars to Ernie Gehr and Bruce Baillie, who are among the
living?
Or, one might ask, how likely is any of that?
In all seriousness, am I the only one who finds the many posts in this
thread a little bizarre?
I thought it was nice when Brakhage was briefly acknowlwedged in the Oscar
montage, and it's nice when other experimental filmmakers are acknowledged
too. But when we start talking about awards, have we forgotten what the
Oscars are, and what values they represent, and how different the values
of avant-garde film are? Why should we expect, or even want, more than a
passing nod from the Academy as it is currently constituted? It's really
great that the money from the Oscar-cast goes to film preservation,
including of avant-garde work. Is there any reason to expect more?
Fred Camper
Chicago
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