The Man with the Movie Camera, 1973, David Crosswaite

Against Dominant Cinema

Hall (1968–69) Peter Gidal. 16mm, bw, 8 min
Shepherd's Bush (1971) Mike Leggett. 16mm, bw, 15 min
The Man with the Movie Camera (1973) David Crosswaite. 16mm, bw, 8 min
Threshold (1972) Malcolm Le Grice. 16mm, color, 13 min
Versailles I & II (1976) Chris Garratt. 16mm, bw, 11 min
Seven Days (1974) Chris Welsby. 16mm, color 20 min
Associations (1975) John Smith. 16mm, color, 7 min
 
The LFMC workshop, which housed a step printer and continuous processor, enabled filmmakers to work without the expense or need for commercial laboratories. Their often process-based films were made in conscious opposition to 'dominant' cinema. Shepherd's Bush, a measured passage from darkness to light conceived as a test for the Co-op's printer, is nonetheless a cathartic experience for the viewer. British artists also used language, landscape and the human body to create more representational works that still employ the essential qualities of film. To make Seven Days, a film that applies a mechanistic structure to the unpredictable climate of the natural world, Chris Welsby and Jenny Okun endured a week of bleak weather conditions on a Welsh hillside. (M.W.)
 
Introduced by Mark Webber

Screening dates: