John, hi - Would Joyce Wieland + Hollis Frampton's A + B in Ontario<https://film-makerscoop.com/catalogue/joyce-wieland-a-andamp-b-in-ontario> count? Wieland and Frampton shot it in 1967, the film<https://www.youtube.com/watch?v=TRFJ2KJr2fk> edited in 1984.
Nancy Holt and Robert Smithson's Swamp<http://www.ubu.com/film/smithson_swamp.html> (1971)? Though, sure, I wouldn't say these are overlooked or under-appreciated. I'm just avoiding grading. Carl Milwaukee ________________________________ From: FrameWorks <frameworks-boun...@jonasmekasfilms.com> on behalf of John Powers <jpower...@yahoo.com> Sent: Tuesday, October 29, 2019 12:53 PM To: frameworks@jonasmekasfilms.com <frameworks@jonasmekasfilms.com> Subject: [Frameworks] The Participatory Camera Hi Frameworkers, Sorry to hit the list with one of those periodic crowd-sourcing requests, but I'm curious if anyone can recommend experimental films from the 1960s-80s, especially overlooked or under-appreciated, where the camera could be said to "participate" in the actions depicted, rather than simply to "observe." I understand that these distinctions are not so black-and-white, and, construed broadly, any instance of shooting film could be called "participatory." But I'm thinking more of examples like Carolee Schneemann's FUSES, where the camera is integrated into Carolee and Tenney's sexual life, and they pass it back and forth; or Brakhage's WEDLOCK HOUSE: AN INTERCOURSE, where Stan & Jane pass the camera back-and-forth during an argument. CHRISTMAS ON EARTH is another candidate. Anyone have similar examples of camera-sharing/participation/interaction with the instrument, however you want to construe such a thing? Thanks for your assistance! best, John
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