Shoot Shoot Shoot

SHOOT SHOOT SHOOT:
BRITISH AVANT-GARDE FILM OF THE 1960s & 1970s
London Tate Modern
10-11 November 2006

At the Academy (Guy Sherwin, 1974)

The 1960s and 1970s were ground-breaking decades in which independent filmmakers challenged cinematic convention. In England, much of the innovation took place at the London Film-Makers' Co-operative, an artist-led organisation that enabled filmmakers to control every aspect of the creative process. LFMC members conducted an investigation of celluloid that echoed contemporary developments in painting and sculpture. The physical production of a film became integral to its form and content as Malcolm Le Grice, Lis Rhodes, Peter Gidal and others explored the material and mechanics of cinema, making radical new works that contributed to a new visual language.

SHOOT SHOOT SHOOT is a LUX project. Curated by Mark Webber.

www.lux.org.uk

Slides (Annabel Nicolson, 1970)

Friday 10 November 2006, at 7pm
SHOOT SHOOT SHOOT: 1

The materialist tendency characterised the hardcore of British filmmaking in the early 1970s. Distinguished from structural film, these works were primarily concerned with duration and the raw physicality of the celluloid strip.

Annabel Nicolson, Slides, 1970, colour, silent, 11 mins
Guy Sherwin, At the Academy, 1974, b/w, sound, 5 mins
Mike Leggett, Shepherd's Bush, 1971, b/w, sound, 15 mins
David Crosswaite, Film No. 1, 1971, colour, sound, 10 mins
Lis Rhodes, Dresden Dynamo, 1971, colour, sound, 5 mins
Chris Garratt, Versailles I & II, 1976, b/w, sound, 11 mins
Mike Dunford, Silver Surfer, 1972, b/w, sound, 15 mins
Marilyn Halford, Footsteps, 1974, b/w, sound, 6 mins

Threshold (Malcolm Le Grice, 1974)

Saturday 11 November 2006, at 7pm
SHOOT SHOOT SHOOT: 2

Despite the London Film-Makers' Co-operative workshop's central role in production, not all of the films produced were derived from experimentation with printing and processing. Filmmakers also used language, landscape and the body to create works that explore the essential properties of the medium.

Malcolm Le Grice, Threshold, 1972, colour, sound, 10 mins
Chris Welsby, Seven Days, 1974, colour, sound, 20 mins
Peter Gidal, Key, 1968, colour, sound, 10 mins
Stephen Dwoskin, Moment, 1968, colour, sound, 12 mins
Gill Eatherley, Deck, 1971, colour, sound, 13 mins
William Raban, Colours of this Time, 1972, colour, silent, 3 mins
John Smith, Associations, 1975, colour, sound, 7 mins

...

screening at

Starr Auditorium
Tate Modern, Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge / Blackfriars
MAP OF AREA

Tickets: £4, booking recommended
Box Office: 020 7887 8888

www.tate.org.uk