Monoforma

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              2 Archival description results for Monoforma

              2 results directly related Exclude narrower terms
              The Diary of an Unknown Soldier
              The Diary of an Unknown Soldier
              ES ES-OVNI CTX-S015-SS007-0015 · Item · 1959
              Part of Non-Identified Video Observatory (OVNI)

              In The Diary of an Unknown Soldier Watkins initiated a style of filmmaking which he has consistently developed and experimented with in all of his professional films… Watkins refused to be constrained by cinematic conventions. In this film, he freed the camera from the limitations of a fixed vantage point and forced it to take part in the action so that he could create strikingly realistic, almost newsreel-like, effects and directly involve the viewing audience in the events it was witnessing. The Diary of an Unknown Soldier, however, is not limited strictly to techniques of realism. It contains a curious, almost uneasy, mixture of expressionist and documentary styles, and one suspects that the financial and physical limitations that Watkins faced because of equipment and location problems played a major part in the evolution of this syncretistic approach.

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              Privilege
              ES ES-OVNI RSC-4084 · Item · 1966
              Part of Non-Identified Video Observatory (OVNI)

              "In 1966, following the collapse of a film which I hoped to develop with Albert Finney’s production company, on the 1916 Easter uprising in Dublin, I was approached by John Heyman, a British artists’ agent, to make a film based on an original screenplay by Johnny Speight, which dealt with the influence of Steven Shorter, a pop star in the 1960s. American novelist Norman Bognor and I adapted the script, which we retitled Privilege, to emphasize the significance of Steven Shorter as an allegory for the manner in which national states, working via religion, the mass media, sports, Popular Culture, etc., divert a potential political challenge by young people. In case this theme appears exaggerated, it is important to keep in mind that it was set in the ‘swinging Britain’ of the 1960s, and was prescient of the way that Popular Culture and the media in the US commercialized the anti-war and counter-culture movement in that country as well. ‘Privilege’ also ominously predicted what was to happen in Margaret Thatcher’s Britain of the 1980s - especially during the period of the Falkland Islands War". Peter Watkins

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