It wasn’t very long ago that if one wanted to see films notable for their distinctly experimental nature and relative historical import, one had to:
a. attend screenings in major metropolitan areas;
b. rent prints oneself from The Filmmakers’Coop or Canyon Cinema, mostly, though New Yorker Films had an extensive catalog of European art cinema, and still might;
c. wait for a nearby university to host a screening.
There were occasionally other options but not often. When I first became interested in alternative cinemas 1, home video was still largely the province of mainstream work, though not entirely. One could find, here in New York anyway, films by Beth B. & Scott B., R. Kern, Vivenne Dick, Maya Deren, Kenneth Anger, and Mark Rappaport, for example, but the dearth of experimental work from 1960-1980 or so was, to me, remarkable 2 Because much of the work in question concerned itself with the physical properties of filmstock, it was frequently excluded from video release at the outset. Seems an archaic distinction these days but this was the 20th, not the 21st, century.
Public viewing has characterized nearly all film-viewing for most of its history. At the least, one invited friends, colleagues, or family to see one’s films, and in any case it has been unusual, until the last 30 years or so, to discuss a film without having viewed it in the company of other viewers. Which means, or meant, that unless one made a concerted effort to escape the screening venue in silent solitude, one was likely to end up talking to someone else from the screening for some period of time, however brief. Opinion or study was, under these circumstances, born of a combination of etiquette, remark, debate, and consensus. It was social.
As for myself, I’ve had the By Brakhage: An Anthology, Volume 1 since its initial release and have never watched it alone. Though I pre-ordered A Hollis Frampton Odyssey the day it was announced, I have yet to view a single frame of it: I’m waiting until I can find a time that mutually suits my friends, that we might watch some of the films and discuss them together in person.
Alternative was an adjective then, not a genre, and I pluralize cinema because my interest led me to many different kinds of filmmaking from many different times and places; like most of my friends at that time, it was important to see everything.↩
That the work of these filmmakers has yet to appear on DVD or online streaming is a mystery to me, as is the current lack of L.A. Rebellion cinema, though that is a topic for another time.↩