{"id":3292,"date":"2002-05-29T19:30:57","date_gmt":"2002-05-29T18:30:57","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=3292"},"modified":"2018-01-25T15:01:02","modified_gmt":"2018-01-25T15:01:02","slug":"8mm-london-coop","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2002\/05\/29\/8mm-london-coop\/","title":{"rendered":"8mm Films from the London Co-op"},"content":{"rendered":"

ngg_shortcode_0_placeholder<\/p>\n

8MM FILMS FROM THE LONDON CO-OP<\/strong>
\nWednesday 29 May 2002, at 7:30pm<\/strong>
\n London The Photographers’ Gallery<\/strong><\/p>\n

The home movie format of 8mm can empower artists to make extremely personal and direct film observations. Spontaneity and intimacy are inherent to this pocket sized system. This special evening of single and multi-screen small gauge wonders concludes Shoot Shoot Shoot<\/em>, a major retrospective of British avant-garde film, which screens at Tate Modern throughout May. Many of the makers will be on hand to introduce their work.<\/p>\n

David Crosswaite, Puddle, UK, 1968, b\/w, silent, 4 min<\/strong>
\nMike Dunford, Four Short Films, UK, 1969, b\/w & colour, silent, 10 min<\/strong>
\nMike Dunford, One Million Unemployed in Winter 1971, UK, 1971, colour, sound-on-tape, 4 min<\/strong>
\nJeff Keen, Wail, UK, 1960, colour, silent, 5 min<\/strong>
\nJeff Keen, Like the Time is Now, UK, 1961, colour, silent, 6 min<\/strong>
\nMalcolm Le Grice, China Tea, UK, 1965, colour, silent, 10 min<\/strong>
\nAnnabel Nicolson, Black Gate, UK, 1976, colour, silent, 4 min<\/strong>
\nSally Potter, Jerk, UK, 1969, b\/w, silent, 3 min (two screen)<\/strong>
\nWilliam Raban, Sky, UK, 1969, colour, silent, 5 min (four screen)<\/strong>
\nJohn Smith, Out the Back, UK, 1974, colour, silent, 4 min<\/strong><\/p>\n

David Crosswaite, Mike Dunford, Malcolm Le Grice, Sally Potter, William Raban and John Smith in attendence.<\/p>\nPROGRAMME NOTES<\/a>

<\/p>\n

8MM FILMS FROM THE LONDON CO-OP
\n<\/strong>Wednesday 29 May 2002, at 7:30pm
\nLondon The Photographers’ Gallery<\/p>\n

IN CELEBRATION OF 8MM<\/strong><\/p>\n

\u201cWhat first attracted me to 8mm film in particular was its materiality and the way it produced tangibility problematics on all levels: the acquiring and setting up of increasingly scarce, quality projection equipment, the physicality of the sound made by the film strip running through the projector gate continuously reminds the viewer of the machine\u2019s presence in the room, the attention to projection speed (variable fps), and the frequent act of projecting camera originals (the horror!) instead of film prints. And then there is the film itself \u2013 the sensuous texture of the projected image, the subtlety or sumptuousness of gradations in black-and-white or the discriminating use of colour, the graininess of the image (as emotionally satisfying and particular as the actual silver sparkles on 35mm nitrate stock), the unpredictability of the sound stripe, and the fragility and fleeting sense of the image\u2019s presence on the screen. All these qualities contribute to the intimacy created between the projected films and any group able to give themselves over to the act of actually seeing.\u201d (Jytte Jensen, Museum of Modern Art, in the exhibition catalogue \u201cBig As Life\u201d, 1999)<\/p>\n

Back to top<\/a><\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

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":[110,111],"tags":[118],"class_list":["post-3292","post","type-post","status-publish","format-standard","hentry","category-infinite-projection","category-shoot-shoot-shoot","tag-shoot-shoot-shoot"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3292","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=3292"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3292\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=3292"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=3292"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=3292"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}