ABSTRACT
Sometimes the filmmakers’ statements, since 1966 in Britain, give more than just anecdotal insight into the concerns relevant to their film-practices. Theorization attempts were never in a vacuum in relation to the film-work, though the theory is separate, the film-work is separate. Contradictions are produced in the relation between theory and practice, or, better said, between the theoretical practices of writing on film and filmmaking. Filmmaking is always also theoretical.
