Promoting and Curating US Experimental Cinema in Europe:"The Western American Experimental Film" Tour in 1963 and the New American Cinema Miguel Fernández Labayen (bio) and John Sundholm (bio) Introduction This article is born out of the finding of the program poster of "The Western American Experimental Film" tours in Stockholm (Fig. 1). We found the poster in the archive of Moderna Museet, Stockholm's Museum of Modern Art, when researching the New American Cinema screenings in Europe. Not having ever heard of this program before, we began to trace its origins and history. Somehow, we were confronted by an object, an event, and a past, which had not been written about and had left no trace in the narratives about the presence of US experimental cinema in Europe in the 1960s. Later on, when trying to revisit the program for "'The Gatekeepers exist to be overthrown.' Amos Vogel—Reprisen und Repliken (II)," a film series devoted to Amos Vogel that ran from November 8 to 15, 2021, at Arsenal in Berlin, it turned out to be very difficult and, in some cases, impossible to get hold of the prints. It looked as if the films had also disappeared. The aim of this article is two-fold: on the one hand, we map "The Western American Experimental Film" tour of 1963 in Europe; on the other, we question why some films and filmmakers have vanished from the circulation and the reproduction of American experimental film culture. Hence, even if not being completely omitted from history (or otherwise the remains of the tour would not exist), many of the films and filmmakers within the tour have hardly left any traces in a history, that of the New American Cinema, that we think we know. As such, we approach the Western Experimental Film tour as one of the deviations of the history of the circulation of the New American Cinema in Europe, [End Page 183] Click for larger view View full resolution Figure 1. The poster of "The Western American Experimental Film" at Moderna Museet, Stockholm. Courtesy of Moderna Museet. [End Page 184] a deviation that opens the historiography constructed around the so-called New American Cinema Expositions of 1963–64 and 1967–68 both spatially and temporally, and brings into the fore what have become invisible objects overshadowed by the tours organized by Jonas Mekas and P. Adams Sitney. In order to address the question of why certain films seem to have disappeared from circulation and thus have also been omitted from history, we will look in particular at "The Western American Experimental Film" tour in 1963 as an example of the branding and dissemination of US experimental film culture in the making in Europe in the 1960s. Through a look at promotion, programming, curating, and reception, we will explore the creation of discourses and ways of conceptualizing a set of films. This strategy would become the basis for the New American Cinema apparatus and its aspirations to control the interpretation of the films, which culminated in the 1967–68 film exposition and the publication of P. Adams Sitney's highly influential book Visionary Film in 1974, based on Sitney's experience of travelling with and curating the second grand tour.1 In this way we will also challenge the transcendental historiography of Visionary Film by establishing different histories, written from the perspective of each specific place and its own time-space configuration. That is, contrary to a vision that creates a common denominator for a set of films—establishing an object and following it through time and space—we ground the films in the specific venues where they were/are being screened. These places have their own specific history of screenings, and they are connected by personal and professional affinities to other localities (which do not necessarily have to be situated within the same national boundaries). The organization of the tour The first chronological trace that we have found about the organization of "The Western American Experimental Film" takes us back to the spring of 1963. In March of that year, Bruce Baillie contacted the cine club at Stockholm's Moderna Museet.2 In the letter, Baillie announced that...
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