Nothing in Common: 40 Years of the London Film-Makers’ Coop

Date: 13 October 2006 | Season: Shoot Shoot Shoot 2006 | Tags:

Friday 13 October 2006, at 5pm
London Frieze Art Fair

The London Film-Makers’ Co-operative (LFMC) was established 40 years ago today, on 13 October 1966. An artist-led project, it incorporated a distribution collection, screening room and film workshop. It grew from an informal film society into one of the major international centres of avant-garde cinema and its films form the basis of the current LUX collection. Many LFMC filmmakers experimented with projection techniques, creating expanded cinema performances, installations and multi-screen films, with artists such as Malcolm Le Grice prefiguring much of contemporary practice with his remarkable body of work. In Castle One, made from scraps of footage found outside commercial film labs, a photoflood light bulb is hung directly in front of the screen and flashed intermittently during projection, bleaching out the image, illuminating the screening room and breaking down the relationship between film and audience. Gill Eatherley’s Aperture Sweep, from her ‘Light Occupations’ series of film related activities, is a double screen performance in which Eatherley, armed with a broom (amplified to be both seen and heard), appears to sweep the screen clean for future projections. Both pieces attempt a kind of erasure of the onscreen image, conceptually and physically challenging the roles of maker and spectator. 

Malcolm Le Grice, Castle One, UK, 1966, 16mm/performance, 20 min
Gill Eatherley, Aperture Sweep, UK, 1973, 16mm/performance, 10 min

‘Nothing in Common’, curated by Mark Webber, is a special presentation of The Artists Cinema.

Shoot Shoot Shoot Condensed 2006-08

Date: 10 November 2006 | Season: Shoot Shoot Shoot 2006 | Tags:

November 2006 – May 2008
International Touring Programme

The 1960s and 1970s were groundbreaking 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. During this same period, British filmmakers also made significant innovations in the field of ‘expanded cinema’, creating multi-screen projections, film environments and live performance pieces.

The physical production of a film (its printing and processing) 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. The London Film-Makers’ Co-operative, which was established on 13th October 1966, grew from a film society at the heart of London’s sixties counterculture to become Europe’s largest distributor of experimental cinema and was recognised internationally as a major centre for avant-garde film.

“Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative & British Avant-Garde Film 1966-76” was a major research and exhibition project that toured worldwide from 2002-04. The original 8 programme package of single screen films, multiple projection works and expanded cinema performances that was shown at 19 venues including London Tate Modern, Gateshead Baltic, Basel Kunsthalle, Barcelona Fundaçio Antoní Tapies, Athens Desté Foundation, Tokyo Image Forum and the Melbourne International Film Festival.

This new package is being made available on the 40th anniversary of the LFMC to support the release of the DVD “Shoot Shoot Shoot: British Avant-Garde Film of the 1960s & 1970s” in Autumn 2006. The two programmes contain several films that are not on the DVD and some which were not included in the original tour.

10 & 11 November 2006, London Tate Modern
3 February 2007, Birmingham MAC
29 March 2007, Glasgow Transmission Gallery
25 April 2007, Osnabruck European Media Art Festival
29 May 2007, Nottingham Broadway Cinema and Media Centre (Programme 2 only)
13 & 14 June 2007, Brussels Cinémathèque royale de Belgique
25 & 30 September 2007, Zagreb 25 FPS Festival
16 October 2007, Portland Cinema Project
27 October 2007, Pittsburgh Filmmakers
8 & 9 November 2007, Rochester Visual Studies Workshop
24 & 25 November 2007, Toronto Cinematheque Ontario
29 January & 5 February 2008, Milwaukee Union Theatre
4 & 11 March 2008, Berkeley Pacific Film Archive
2 & 16 March 2008, Los Angeles Filmforum
27 & 31 May 2008, Zurich Videoex

“Shoot Shoot Shoot” is a LUX project. Curated by Mark Webber.

Shoot Shoot Shoot Condensed 2006-08: Programme 1

Date: 10 November 2006 | Season: Shoot Shoot Shoot 2006 | Tags:

November 2006—May 2008
International Tour

The London Film-Makers’ Co-operative was established in 1966 to support work on the margins of art and cinema. It uniquely incorporated three related activities within a single organisation – a workshop for producing new films, a distribution arm for promoting them, and its own cinema space for screenings. In this environment, Co-op members were free to explore the medium and control every stage of the process. 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 (18fps)
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


Shoot Shoot Shoot Condensed 2006-08: Programme 2

Date: 11 November 2006 | Season: Shoot Shoot Shoot 2006 | Tags:

November 2006—May 2008
International Tour

The 1960s and 1970s were a defining period for artists’ film and video in which avant-garde filmmakers challenged cinematic convention. In England, much of the innovation took place at the London Film-Makers’ Co-operative, an artist-led organisation that incorporated a distribution office, projection space and film workshop. Despite the workshop’s central role in production, not all the work derives from experimentation in printing and processing. Filmmakers also used language, landscape and the human body to create less abstract works that still explore the essential properties of the film 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


Shoot Shoot Shoot: DVD Launch and Performances

Date: 24 November 2006 | Season: Shoot Shoot Shoot 2006 | Tags:

Friday 24 November 2006, at 8PM
London Candid Arts Trust

A special expanded cinema performance event to mark the release of the new LUX / Re:Voir DVD “Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s”.

The evening will include two performances: Guy Sherwin’s Configuration has not been performed since 1976, and William Raban’s Wave Formations will be projected for the first time in its new arrangement.

Guy Sherwin, Configuration, 1976, for 2 x Super-8 projectors and live performer, 10 min
“In this film performance a hand-held projector and a stationary projector reproduce the movements of the two cameras used in making the film. The film was made outdoors in a clearing in a wood. The filmmaker held one camera and moved in a circle around the stationary camera while recording variations of the same view. The two cameras occasionally cross each other’s path. In time we see the gradual approach of a figure towards the two cameras and her subsequent involvement in the act of filming. During the performance, the two films are projected together onto a screen. The performer holds one projector and moves in a circle around the stationary projector, echoing the original camera movements. At times, shadows of projector and projectionist are thrown upon the screen.” —Guy Sherwin, 2006

William Raban, Wave Formations, 1977-2006, for 5 x 16mm projectors, 2 x strobe lights and live performer, 25 min
“Part one: Variation in Density: The picture on each of the five screens are identical, seven second fades from black, through clear, to black again. The same fade is printed onto the optical sound track to synchronise with the picture. Then follow fades from light to dark. And from dark to light. Part Two: Intermittency: Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-image complementaries.” —William Raban, 1978

Shoot Shoot Shoot: Expanded Cinema

Date: 23 May 2007 | Season: Shoot Shoot Shoot 2006 | Tags:

Wednesday 23 May 2007, at 7PM
Wrexham Arts Centre

Beginning in the 1960s, artists at the London Film-Makers’ Co-operative experimented with multiple projection, live performance and film environments. In liberating cinema from traditional theatrical presentation, they broke down the barrier between screen and audience, and extended the creative act to the moment of exhibition. “Shoot Shoot Shoot” presents historic works of Expanded Cinema, for which each screening is a unique, collective experience, in stark contrast to contemporary video installations. In Line Describing a Cone, a film projected through smoke, light becomes an apparently solid, sculptural presence, whilst other works for multiple projection create dynamic relationships between images and sounds.

Malcolm Le Grice, Castle Two, 1968, b/w, sound, 32 min (2 screens)
Sally Potter, Play, 1971, b/w & colour, silent, 7 min (2 screens)
William Raban, Diagonal, 1973, colour, sound, 6 min (3 screens)
Gill Eatherley, Hand Grenade, 1971, colour, sound, 8 min (3 screens)
Lis Rhodes, Light Music, 1975-77, b/w, sound, 20 min (2 screens)
Anthony McCall, Line Describing A Cone, 1973, b/w, silent, 30 min. (1 screen, smoke)

Curated by Mark Webber. Presented in association with LUX.