Shoot Shoot Shoot: The First Decade of the London Film-Makers' Co-operative 1966-76

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.

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.

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).

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)

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

Here Is Information. Mobilise collects key critical writings by artist and curator Ian White (1971-2013), ranging from reviews and catalogue essays to entries from his blog Lives of Performers.

This volume brings together for the first time a selection of Ian White’s hugely influential writing on art and the moving image. It includes essays on animation and visual art, cinema’s relationship to conceptual art, and the idea of ‘liveness’ in performance and film, as well as texts on individual artists including Ruth Buchanan, Gabriel Byrne, Isa Genzken, Peter Gidal, Martin Gustavsson, Oliver Husain, Sharon Lockhart, Stuart Marshall, Yvonne Rainer, Jimmy Robert and David Wojnarowicz.

Flare Out: Aesthetics 1966–2016 is a collection of essays by Peter Gidal that includes “Theory and Definition of Structural/Materialist Film” and other texts on metaphor, narrative, and against sexual representation.

Also discussed in their specificity are works by Samuel Beckett, Thérèse Oulton, Gerhard Richter and Andy Warhol. Throughout, Gidal’s writing attempts a political aesthetics, polemical as well as theoretical. One of the foremost experimental film-makers in Britain since the late 1960s, Peter Gidal was a central figure at the London Film-Makers’ Co-operative, and taught advanced film theory at the Royal College of Art. His previous books include Andy Warhol: Films and Paintings (1971), Understanding Beckett (1986) and Materialist Film (1989).

The fifth issue of Rab-Rab: Journal of Political and Formal Inquiries in Art includes stories about nation traitors, fierce masses, socialist women struggles, love-forms, psychedelic counter-revolutionaries, workers unions, Brecht fiddlers, jazz surrealism, Soviet trains, and anti-fascism.

Among the contributors to the fifth issue are Anna Thew, Yehuda Safran, Peter Gidal, Cana Bilir-Meier, David Black, Marjo Liukkonen, Alejandro Pedregal, Peter Hallward, Minna Henriksson, and Jyrki Siukonen.

It has also two extensive dossiers. One dedicated to Franklin Rosemont is presented by Joe Feinberg and is introducing some unpublished and difficult to find texts parallel with writings of T-Bone Slim and Joe Hill. The other dossier on Robert Linhart is presented by Tevfik Rada, and it includes a translation of a chapter from Linhart's book on productivism, an article against Western bourgeois dissidents, and an interview with him.