<\/p>\n
SHOOT SHOOT SHOOT: 2<\/strong>
\nSaturday 31 May 2008, at 6pm
\nZurich Videoex Festival Cinema Z3<\/p>\nTHRESHOLD
\n<\/span>Malcolm Le Grice<\/span><\/strong>, 1972, colour, sound, 10 mins<\/strong>
\n\u201cLe Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity \u2026 With the film\u2019s culmination in representational, photographic imagery, one would anticipate a culminating \u2018richness\u2019 of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate the work which is necessary to decipher that cinematic image.\u201d (Deke Dusinberre, LFMC catalogue 1993)<\/span><\/p>\nSEVEN DAYS
\n<\/span>Chris Welsby<\/span><\/strong>, 1974, colour, sound, 20 mins<\/strong>
\n\u201cThe location of this film is by a small stream on the northern slopes of Mount Carningly in southwest Wales. The seven days were shot consecutively and appear in that same order. Each day starts at the time of local sunrise and ends at the time of local sunset. One frame was taken every ten seconds throughout the film. The camera was mounted on an Equatorial Stand, which is a piece of equipment used by astronomers to track the stars. Rotating at the same speed as the earth, the camera is always pointing at either its own shadow or at the sun. Selection of image (sky or earth; sun or shadow) was controlled by the extent of cloud coverage. If the sun was out the camera was turned towards its own shadow; if it was in the camera was turned towards the sun.\u201d (Chris Welsby, LFMC catalogue 1978) <\/span><\/p>\nKEY
\n<\/span>Peter Gidal<\/span><\/strong>, 1968, colour, sound, 10 mins<\/strong>
\n\u201cSlow zoom out and defocus of \u2026\u201d (Peter Gidal, LFMC catalogue 1974)<\/span><\/p>\nMOMENT
\n<\/span>Stephen Dwoskin<\/span><\/strong>, 1968, colour, sound, 12 mins<\/strong>
\n\u201cOne single continuous shot of a girl\u2019s face before, during and after an orgasm. A concentration on the subtle changes within the face – going from an objective look into a subjective one and then back out \u2026 Moment is not a woman alone, but with her \u2018in person\u2019. Have you ever really watched the face in orgasm?\u201d (Stephen Dwoskin, Other Cinema catalogue 1972)<\/span><\/p>\nDECK
\n<\/span>Gill Eatherley<\/span><\/strong>, 1971, colour, sound, 13 mins<\/strong>
\n\u201cDuring a voyage by boat to Finland, the camera records three minutes of black and white 8mm film of a woman sitting on a bridge. The preoccupation of the film is with the base and with the transformation of this material, which was first refilmed on a screen where it was projected by multiple projectors at different speeds and then secondly amplified with colour filters, using positive and negative elements and superimposition on the London Co-op\u2019s optical printer.\u201d (Gill Eatherley, Light Cone catalogue, 1997)<\/span><\/p>\nCOLOURS OF THIS TIME
\n<\/span>William Raban<\/span><\/strong>, 1972, colour, silent, 3 mins<\/strong>
\n\u201cWhilst working on previous time-lapse films, I found that colour film tended to record the actual colour of the light source rather than local colour when long time exposures were used. Using this phenomenon, Colours of this Time records all the imperceptible shifts of colour temperature in summer daylight, from first light until sunset.\u201d (William Raban, LFMC catalogue 1974)<\/span><\/p>\nASSOCIATIONS
\n<\/span>John Smith<\/span><\/strong>, 1975, colour, sound, 7 mins<\/strong>
\n\u201cText taken from \u2018Word Associations and Linguistic Theory\u2019 by Herbert H. Clark. Images taken from magazines and colour supplements. By using the ambiguities inherent in the English language, Associations sets language against itself. Image and word work together\/against each other to destroy\/create meaning.\u201d (John Smith, LFMC catalogue 1978)<\/span><\/p>\nBack to top<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
SHOOT SHOOT SHOOT: 2 Saturday 31 May 2008, at 6pm Zurich Videoex Festival Cinema Z3 The 1960s and 1970s were a defining period for artists\u2019 film and video in which avant-garde filmmakers challenged cinematic convention. In England, much of the innovation took place at the London Film-Makers\u2019 Co-operative, an artist-led organisation that incorporated a distribution […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[147],"tags":[118],"class_list":["post-6207","post","type-post","status-publish","format-standard","hentry","category-videoex-2008","tag-shoot-shoot-shoot"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/6207","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=6207"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/6207\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=6207"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=6207"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=6207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}