Skip to main content
rile*books

Search books

Search books by title, author, publisher, keywords...

Cover of REWIND PLAY: An Anthology of Early British Video Art

LUX, London

REWIND PLAY: An Anthology of Early British Video Art

LUX

€16.00

REWIND PLAY presents a selection of key works from the first decade of artist's video practice in the UK. From early conceptual experiments exploring the parameters of the medium to works dealing with media culture and television this collection explores the range and diversity of the first years of video as new media.

This three DVD box set including 24 videos by: John Adams, Peter Anderson, Kevin Atherton, Ian Bourn, Ian Breakwell, David Critchley, Peter Donebauer, Catherine Elwes, Judith Goddard, David Hall, Mick Hartney, Brian Hoey/Wendy Brown, Madelon Hooykaas/ Elsa Stansfield, Tina Keane, Tamara Krikorian, Mike Leggett, Stephen Littman, Stuart Marshall, Chris Meigh-Andrews/ Gabrielle Bown, Marcelline Mori, Stephen Partridge, Clive Richardson and Tony Sinden. Plus a new essay by Sean Cubitt, Professor of Media and Communications, University of Melbourne.

Total running time: 336 minutes. 3 x DVD 9, PAL, Region 0

Published in collaboration with REWIND| Artists' Video in the 70s and 80s.

Disc 1:
Stories, John Adams (1982, 13 min) Eyebath Peter Anderson (1977, 8 min) In Two Minds (2 screen version) Kevin Atherton (1978, 25 min) Lenny's Documentary Ian Bourn (1978, 45 min) In the Home Ian Breakwell (1980, 10 min)

Disc 2:
Pieces I Never Did (3 screen version), David Critchley (1979, 31 min) Circling, Peter Donebauer (1975, 12 min) Kensington Gore, Catherine Elwes (1981, 15 min) Time Spent, Judith Goddard (1981, 12 min) TV Interruptions (7 TV Pieces), David Hall (1971, 23 min) State of Division, Mick Hartney (1978, 5 min) The Extent of Three Bells, Steve Hawley (1981, 5 min) Flow, Brian Hoey/Wendy Brown (1977, 17 min)

Disc 3:
Split Seconds, Madelon Hooykaas/ Elsa Stansfield (1979, 11 min) Clapping Songs, Tina Keane (1979, 6 min) Vanitas, Tamara Krikorian (1977, 8 min) The Heart Cycle, Mike Leggett (1973, 9 min) Mirror, Stephen Littman (1979, 5 min) Go thru the Motions, Stuart Marshall (1975, 8 min) Continuum, Chris Meigh Andrews/Gabrielle Bown (1977 5 min) 2nd and 3rd Identity, Marcelline Mori (1978, 10 min) Monitor, Stephen Partridge (1975, 6 min) Video Sketches, Clive Richardson (1972, 22 min) Drift Guitars, Tony Sinden (1975 21 min)

recommendations

Cover of Perestroika / Perestroika: Reconstructed

LUX, London

Perestroika / Perestroika: Reconstructed

Sarah Turner

DVD €13.00

An autobiographical documentary, a fiction that's also an essay and an extended poetic meditation on the ability of the image to represent experience. Sarah Turner's film is a ghost story that explores what we forget and how we remember. The stunning imagery comes solely from the window of the Trans-Siberian train, shot first in 1987-8 and then again in 2007-8. The re-enactment of the journey is a memory work, a re-enactment of the past in the present through the process of filming. But the return journey is haunted by the voices of two dead friends that dominate the soundscape of the 'archive' footage. The film culminates at the haunting expanse of Lake Baikal, the deepest lake in the world.

Perestroika: Reconstructed re-mixes and extends Perestroika, into two sequences. Sequence one constitutes the 2009 version of the film, whilst the second sequence constructs a new framing narrative that reinterprets and reconfigures both the imagery and the experience of the first. Part psycho-geography, part dream and part environmental allegory, both sequences of Perestroika : Reconstructed conclude at Lake Baikal, contrasting experiences of terror and apocalypse with those of beauty and tranquility, the one contaminating the other. In this uncanny return, form stages thee through twinning the instability of memory and re-enacting that within the projective experience of cinema. This extended work delves further into ideas of momentary truth, identity, and how an uncontaminated experience of landscape is literally and metaphorically something that only exists in memory.

Publication contains DVD of Perestroika, which was released theatrically, blu-ray of Perestroika:Reconstructed, first exhibited as a gallery installation at London's Carroll/Fletcher Gallery April-May 2013, and a booklet of three essays by Elizabeth Cowie, Sophie Mayer, and Paul Newland.

Cover of Afterimages 2: Peter Gidal Volume 1

LUX, London

Afterimages 2: Peter Gidal Volume 1

Peter Gidal

This DVD includes three seminal early films: 
Key, 1968, 10 min.
Clouds, 1969, 10 min.
Room Film 1973, 1973, 55 min. 

Peter Gidal's films have been an influence on several generations of artists. An important theorist and writer as well as a filmmaker since the late 1960s, Gidal was a pioneer of 'structural-materialist' film and his work has been shown around the world, including retrospectives at the ICA in London and the Centre Pompidou, Paris. You can read more about Peter Gidal on LUX Online.

Cover of DWOSKINO. The Gaze of Stephen Dwoskin

LUX, London

DWOSKINO. The Gaze of Stephen Dwoskin

Henry K Miller, Rachel Garfield

DWOSKINO. The Gaze of Stephen Dwoskin is the culmination of a three year research project, The Legacies of Stephen Dwoskin, at the University of Reading where his archive is housed. The book is a unique visual distillation of Dwoskin’s life and times, with hundreds of never-seen-before images taken from his archive, and texts by among others Laura Mulvey, Raymond Bellour, Raymond Durgnat, and Dwoskin himself.

Stephen Dwoskin (1939–2012) began his filmmaking career in the New York underground scene of the early 1960s, then moved to London in 1964, where he became a leading figure in avant-garde film, and was one of the founders of the London Filmmakers Co-operative (now LUX). His early works, such as Dyn Amo (1972), are synonymous with the male gaze. Laura Mulvey wrote that he ‘opened a completely new perspective for me on cinematic voyeurism’ and his work was a major influence on her influential work on the male gaze in cinema. From the mid-1970s, he focused his camera upon his own body, afflicted by polio during childhood, in such films as Behindert (1974) and Outside In (1981).

Cover of Afterimages 3: Lis Rhodes Volume 1

LUX, London

Afterimages 3: Lis Rhodes Volume 1

Lis Rhodes

This DVD contains:
Light Reading, 1978, 20 min.
Pictures on Pink Paper, 1982, 35 min.
Cold Draft, 1988, 28 min.

Lis Rhodes has been at the forefront of British experimental filmmaking since the early 1970s. She studied at the North East London Polytechnic and the Royal College of Art. A strong formal aesthetic has been developed in her films, reflecting her involvement with the debates and practice which emerged from the London Filmmakers' Co-operative, where she was Cinema Curator 1975-6. Early 'expanded' works such as Light Music (1975) fused performance and multi-screen projection with an exploration of the visual qualities of sound. Her analysis of broader political and social questions can be traced to her later films, which combine formal rigour with a passionate critique of issues from nuclear power to domestic violence. As an active campaigner for women's rights, Rhodes was a founder member of Circles, the first women's artist film and video (1979) and was an Arts Advisor to the Greater London Council between 1982 and 1985. She lives and works in London and teaches at Slade School of Fine Art, University College, London.

Cover of slow emergency siren, ongoing: Accessing Handsworth Songs

LUX, London

slow emergency siren, ongoing: Accessing Handsworth Songs

Sarah Hayden

A unique limited edition accessible publication documenting a project to make Black Audio Film Collective’s seminal 1986 film Handsworth Songs more, and differently, accessible. Designed by Daly & Lyon it presents a new commissioned annotated audio description script from Elaine Lillian Joseph and new creative captions commissioned from the Care-fuffle Working Group alongside new essays by Clive Nwonka and Sarah Hayden.

The publication was produced in collaboration with Voices in the Gallery and with the support and advice of the UK Association for Accessible Formats and financial support from AHRC. The publication is also available in website form designed by An Endless Supply at slowemergencysiren.org.uk

Cover of To Become Two

Archive Books

To Become Two

Alex Martinis Roe

To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia from the seventies until today.

These practices include those of the Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney including people involved in the Sydney Filmmakers Co-operative, Feminist Film Workers, Working Papers Collective, and the Department of General Philosophy at Sydney University; and Duoda – Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona.

Drawing from their practices and experiences, Martinis Roe’s research forms a proposal for a transgenerational approach to feminist politics. This is further developed as a practical handbook of twenty new propositions for feminist collective practice, which were formed in collaboration with a network of contributors through experiments with these historical practices.

Cover of Ten Skies

Fireflies Press

Ten Skies

Erika Balsom

Ten shots of the sky, each ten minutes long. That’s all it takes to describe James Benning’s film from 2004. And yet, this simplicity conceals a rich and absorbing drama, one of the great works of the American avant-garde. Scholar and critic Erika Balsom unfolds its hidden intricacies of meaning, extending its lessons with crystalline prose, a comparable sense of depths, and an exhilarating, maximalist intimation of what criticism can do and become. She brings you from the film itself into the mind of the artist, through philosophical musings and art historical scholarship. The book is part of a Decadent Editions series of 10 books about 10 films.

Cover of Pulsions pasoliniennes

Franciscopolis Éditions

Pulsions pasoliniennes

Fabrice Bourlez

An original reading of Pier Paolo Pasolini's work and “impulses”, between aesthetic and psychoanalytic reflection.

Une lecture originale du corpus et de la biographie de Pier Paolo Pasolini, sous le signe de l'éthique et des « pulsions » qui y sont à l'œuvre, entre réflexions esthétique et psychanalytique.

Relue à l'aune de la psychanalyse et des théories queer, l'œuvre de Pier Paolo Pasolini constitue un Dehors fertile pour la réflexion contemporaine. Pour faire face à l'apathie, pour affronter la souffrance, pour réveiller la réalité désabusée, comment tirer parti de la descente aux enfers pasoliniens ? Comment son travail peut-il aider à mieux appréhender le contemporain sans le condamner d'une traite ? Pasolini aimait se définir comme « une force du passé ». Il ne faut pas laisser sombrer sa lutte contre le conformisme petit bourgeois et le développement du capitalisme dans un conservatisme quelconque. La lutte pasolinienne, son combat au corps-à-corps avec la langue, le visible, le dicible ne peut rester vain.

Re-lire et re-revoir Pasolini pour nommer le contemporain : le chantier est vaste, d'autant plus imposant qu'il est resté inachevé. Films, pièces de théâtre, romans, poésies, essais... en chaque lieu, surgit la suspension des certitudes bien-pensantes et résonnent les voix des sans-voix : ragazzi, prostituées, spectres, lucioles, sous-prolétariat du monde entier. S'ensuit une série de questions déterminantes pour l'actualité de la pratique psychanalytique et de la pensée. Comment (se) dit-on ? Comment (se) réfléchit-on ? Comment (se) désire-t-on ? Où et comment retrouver un peu de « grande santé » ? Où et comment trouver un nouveau cap ?

D'Edipo Re à Salo, d'Orgia à Petrolio, de Comizi d'amore aux Ecrits corsaires, Pasolini décline des corps, des visages, des personnages animés par des pulsions qui ne cessent d'inventer une logique mettant au défi le moralisme de l'autorité paternelle. Ces pulsions répètent sans cesse un même échec. Que signifie cette omniprésence de l'échec, l'insistance de la foirade tant dans l'œuvre filmée qu'écrite ? Comment articuler le refus du père pasolinien avec son attachement revendiqué à l'œuvre freudienne? Répondre à ces questions, c'est entrer dans la poétique même de l'écriture pasolinienne et dans des questions psychanalytiques de la plus brûlante actualité.

Rapprocher Pasolini de la psychanalyse et des théories du genre ne vise ni à psychologiser son œuvre, ni à faire du poète un précurseur des idéologies queer. S'emparer des pulsions pasoliniennes, c'est, bien plutôt, mettre au travail la praxis par les idéologies : réveiller l'écoute analytique, les idéologies queer et l'esthétique pasolinienne.

L'essai se veut une porte d'entrée pour comprendre l'éthique à l'œuvre chez Pasolini et dans la pratique de l'inconscient. Son champ référentiel principal est le corpus pasolinien analysé à partir de l'œuvre freudienne et des apports lacaniens ainsi que de leurs reprises par les avancées des théories du genre (Teresa de Lauretis, Leo Bersani, Gayle Rubin...).