Ordinarily when one is tasked to compose an obituary for a public figure, the writer can assume that the reader has some basic familiarity with the subject. This lends itself to a particular approach, which usually entails an expression of the subject’s significance to his or her field, some historical context for their achievements, and an overall reminder of the enduring value of their work. In the case of experimental filmmaker Jim Jennings, who died on May 19th, some of these assumptions are frustratingly inapplicable.
Even within the rarefied world of avant-garde film, Jennings’ work still has not received the exposure and acclaim it deserves. This should change since, through the efforts of his wife Karen Treanor, a team of young archivists, and Mark Toscano of AMPAS, Jennings’ work is being preserved and restored. At this point, most of Jennings’ films can be streamed at jimjenningsfilm.com, a website maintained by Treanor that, in addition to the films, includes examples of Jennings’ acclaimed still photography, drawings, and paintings, along with valuable historical documents and data.
To all outside appearances, Jennings seemed poised to take his place as one of the most important filmmakers of the era. A one-time student of Ernie Gehr, an early associate of Richard Foreman—he performed in the Ontological-Hysteric Theater’s production of in 1974—and a fixture
