This really does seem a little too cynical. No one is suggesting any such thing. I'm just trying to represent the work of someone who is already well-known and presumably taken seriously. And I guess what it takes is being clear about one's expectations and sticking to it.

If, on the other hand, you mean how does one get taken seriously, or 'known,' to begin with, I guess how one got "known" back in the 60s and 70s was quite a different matter from how it might happen now. . . . But fortunately, there are a lot of good film festivals, with a lot of good curators and programmers who show interesting selections of both new and old films. Right? And there are some really good museum curators who go to a lot of these festivals and see the work. Granted, it can be hard to get noticed in a crowded field. But I guess people continue to use both old and new networks for sharing their work.


However, this is an entirely different conversation, and one that many other people can address better than me.

MB



On 5-Mar-12, at 8:41 PM, John Woods wrote:

>Balsom rightly points out that in the museum world there is a double standard “whereby experimental film-makers are treated with less respect than ‘artists working in film’ – such as Tacita >Dean, Stan Douglas or Matthew Buckingham – whose work is never subject to such transpositions.” She goes on to say that “recent exhibition practices have demonstrated the persistent

And what was it that put the work of these people into their vaunted status in the museum world? Gallery representation? Art school cred? Press manipulation (publicity stunts, etc.)? Is that what a filmmaker needs to do to be taken seriously? I guess that seems to mostly work for Hollywood.
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