{"id":1307,"date":"2007-04-13T21:00:43","date_gmt":"2007-04-13T20:00:43","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1307"},"modified":"2018-01-25T14:55:21","modified_gmt":"2018-01-25T14:55:21","slug":"swingeing-london-4","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2007\/04\/13\/swingeing-london-4\/","title":{"rendered":"Swingeing London 4"},"content":{"rendered":"

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SWINGEING LONDON: 4
\nFriday 13 April 2007, at 9pm<\/strong>
\n<\/strong>Filmhuis Den Haag<\/strong><\/p>\n

Introduction by Mark Webber<\/p>\n

POEM FOR HOPPY
\nBoyle Family, UK, 1967, 16mm, colour, sound, 4 min <\/strong>(shown on video)
\nAn improvised performance, by Soft Machine and the Sensual Laboratory, in protest against John Hopkins\u2019 conviction for marijuana possession.<\/p>\n

\u201cMark Boyle and Joan Hills lived in and around Ladbroke Grove in the middle 1960s, organising events and making sculptures that attempted to present reality as it is. The events included various projection pieces presenting physical and chemical change: boiling water, burning slides and bodily fluids that led to them being asked by Hoppy to do a presentation at the first night of the UFO club, where their liquid light of exploding colours became the main visual accompaniment to the bands that performed there. Pink Floyd, Soft Machine, Jimi Hendrix, the underground scene and psychedelic lightshows exploded out of UFO, across London and around the world.\u201d (Portobello Film Festival)<\/p>\n

MAJA REPLICATE
\nFred Drummond, UK, 1969, 16mm, colour, silent, 15 min <\/strong>(double screen projection)
\nMaja Replicate<\/em> is a freewheeling collage of disparate materials assembled through visual and technical improvisation in the LFMC workshop.<\/p>\n

\u201cA multi-coloured reprint using diary material, found footage of a male and female scientist (much decayed), Claudette Colbert from Siren of Atlantis<\/em>, a glamorous model and a film of the Phun City festival. The structure, a conglomeration of fades, stills, repeats, loops and slipping footage was the result of a process of physical rapport with the film co-op printing machine. Basically an over-ripe colour concoction. I enjoyed making it!\u201d (Fred Drummond)<\/p>\n

CHOKE
\nDavid Crosswaite, UK, 1971, 16mm, b\/w & colour, sound, 5 min <\/strong>(double screen projection)
\nDriven by a live recording of \u201cCrossroads\u201d by Cream, Choke<\/em> is a positive\/negative, Pop Art explosion across two screens. The title takes a dig at Coke, whose huge neon sign at Piccadilly Circus provides most of the raw material, which is dynamically animated, superimposed, mirrored and inverted.<\/p>\n

SOUL IN A WHITE ROOM
\nSimon Hartog, UK, 1968, 16mm, colour, sound, 3 min
\n<\/strong>LFMC founder member Simon Hartog was one of the most politically aware filmmakers of the period. This early short film is an amusing piece of social commentary on mixed race relationships, which were hardly commonplace in the UK at that time, and has a soundtrack by The Troggs. The male character played by Omar Dop-Blondin, a Sengelese student fresh from the Paris 68 protests, and an associate of the London Black Panthers.<\/p>\n

NAISSANT
\nStephen Dwoskin, UK, 1964-67, 16mm, b\/w, sound, 14 min
\n<\/strong>Dwoskin\u2019s early films were heavily influenced by Warhol, in both the visual content and extended duration. They typically consisted of long takes from a fixed or hand-held camera, with an attractive young woman as the only protagonist. Composer Gavin Bryars provided the soundtrack to Naissant<\/em> and several others.<\/p>\n

\u201cObjective location: a bed; subjective location: in thoughts. Being with thoughts and the child to be born. Camera from three sides of the bed with three lenses working from bed level and standing level. Filmed in New York in 1964, completed in London 1967. Naissant<\/em> presents being alone with one\u2019s thoughts. Time and her inner thoughts are found out only by spending time with her in the film.\u201d (Stephen Dwoskin)<\/p>\n

VIDEOSPACE REEL
\nJohn Hopkins \/ TVX, UK, 1970, 16mm, colour, sound, 15 min <\/strong>(shown on video)
\nThis recently rediscovered reel of early video image processing by John Hopkins and the TVX collective begins with a music \u201cvisualisation\u201d made for the BBC to accompany the track \u201cScotland\u201d by Area Code 615. The remaining footage is an excerpt from the Videospace<\/em> happening which took place inside a BBC TV studio: an un-broadcast optical dub session which incorporated music, tape, film and feedback loops, lightshows, dancing, inflatables and live video mixing.<\/p>\n

HORIZON
\nLutz Becker, UK, 1968, 16mm, colour, sound, 5 min
\n<\/strong>Beginning in 1966, Lutz Becker and BBC engineer Ben Palmer collaborated on a sequence of works in their quest to create \u201celectronic moving pictures\u201d. The calligraphic forms seen in Horizon<\/em> were generated by feedback loops between cameras and monitors, with colour added later on a conventional optical printer. The music was composed and performed by cellist Joy Hall.<\/p>\n

PAPERCITY
\nJohn Bennett, UK, 1969, 16mm, colour, sound, 5 min
\n<\/strong>Papercity builds an impressionistic portrait of London through still photographs and timelapse footage. Views of the city rarely feature in experimental films of this period, but this semi-commercial production, funded by the British Film Institute, is an evocative study of everyday sights and activities.<\/p>\n

Also Screening: Monday 16 April 2007, at 8:30pm<\/em><\/p>\n

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Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[50],"tags":[],"class_list":["post-1307","post","type-post","status-publish","format-standard","hentry","category-swingeing-london"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1307","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1307"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1307\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1307"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1307"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1307"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}