The city’s longest-running organization dedicated to weekly screenings of experimental film, documentaries, animation and video art.

March 16: SHOOT SHOOT SHOOT: Works of the London Film-Makers’ Co-operative, Part II


Sunday March 16, 2008, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents

Works of the London Film-Makers’ Co-operative in two programs

Curator Mark Webber in person!

The London Film-Makers’ Co-operative was established in 1966 to support work on the margins of art and cinema.  It uniquely incorporated three related activities within a single organization – a workshop for producing new films, a distribution arm for promoting them, and its own cinema space for screenings.  In this environment, Co-op members were free to explore the medium and control every stage of the process.  The physical production – printing and processing – of a film became a vital part of its creation, and is what distinguished the LFMC films from other avant-garde work of the period.


SHOOT SHOOT SHOOT: Programme 1 (Part II in Filmforum’s series)

SHOOTSHOOTSHOOT is a LUX project curated by Mark Webber.
Funded by Arts Council England, British Council, British Film Institute and the Esmée Fairburn Foundation.

Slides by Annabel Nicolson (1970, 11 mins)
“A continuing sequence of tactile films were made in the printer from my earlier material. 35mm slides, light leaked film, sewn film, cut up to 8mm and 16mm fragments were dragged through the contact printer, directly and intuitively controlled.  The films create their own fluctuating colour and form dimensions defying the passive use of ‘film as a vehicle’.  The appearance of sprocket holes, frame lines etc., is less to do with the structural concept and more of a creative, plastic response to whatever is around.” — Annabel Nicolson, LFMC catalogue,1974

At the Academy by Guy Sherwin (1974, 5 mins)
“Makes use of found footage hand printed on a simple home-made contact printer, and processed in the kitchen sink.  At The Academy uses displacement of a positive and negative sandwich of the same loop.  Since the printer light spills over the optical sound track area, the picture and sound undergo identical transformations.”  — Guy Sherwin, LFMC catalogue, 1979

Shepherd’s Bush by Mike Leggett (1971, 15 mins)
Shepherd’s Bush was a revelation.  It was both true film notion and demonstrated an  ingenious association with the film-process.  It is the procedure and conclusion of a piece  of film logic using a brilliantly simple device; the manipulation of the light source in the  Film Co-op printer such that a series of transformations are effected on a loop of film  material.  From the start Mike Leggett adopts a relational perspective according to which it is neither the elements or the emergent whole but the relations between the elements  (transformations) that become primary through the use of logical procedure.”  — Roger Hammond, LFMC catalogue supplement, 1972

Film No.1 by David Crosswaite (1971, 10 mins)
Film No.1 is a 10-minute loop film.  The systems of super-imposed loops are mathematically inter-related in a complex manner.  The starting and cut off points for each loop are not clearly exposed, but through repetitions of sequences in different colours, in different ‘material’ realities (i.e. anegative, positive bas-relief, neg-pos overlay) yet in constant rhythm (both visually and on the soundtrack hum) one is manipulated to attempt to work out the system structure … The film deals with permutations of material, in a prescribed manner but one by no means ‘necessary’ or logical (except within the film’s own constructed system/serial.)” — Peter Gidal, LFMC catalogue, 1974

Dresden Dynamo by Lis Rhodes (1971, 5 mins)
“This film is the result of experiments with the application of Letraset and Letratone onto clear film.  It is essentially about how graphic images create their own sound by extending into that area of film which is ‘read’ by optical sound equipment.  The final print has been achieved through three separate, consecutive printings from the original material, on a contact printer.  Colour was added, with filters, on the final run.  The film is not a sequential piece.  It does not develop crescendos.  It creates the illusion of spatial depth from essentially, flat, graphic, raw material.” — Tim Bruce, LFMC catalogue, 1993

Versailles I & II by Chris Garratt (1976, 11 mins)
”For this film I made a contact printing box,with a printing area 16mm x 185mm which enabled the printing of 24 frames of picture plus optical sound area at one time.  The first part is a composition using 7 x 1-second shots of the statues of Versailles, Palace of 1000  Beauties, with accompanying soundtrack, woven according to a pre-determined sequence. Because sound and picture were printed simultaneously, the minute inconsistencies in exposure times resulted in rhythmic fluctuations of picture density and levels of sound.  Two of these shots comprise the second part of the film which is framed by abstract imagery printed across the entire width of the film surface: the visible image is also the sound image.” — Chris Garratt, LFMC catalogue, 1978

Silver Surfer by Mike Dunford (1972, b/w, sound, 15 mins)
“A surfer, filmed and shown on tv, refilmed on 8mm,and refilmed again on 16mm.Simple loop structure preceded by four minutes of a still frame of the surfer.  An image on the borders of apprehension, becoming more and more abstract.  The surfer surfs, never surfs anywhere, an image suspended in the light of the projector lamp.  A very quiet and undramatic film, not particularly didactic.  Sound: the first four minutes consists of a fog-horn, used as the basic tone for a chord played on the organ, the rest of the film uses the sound of breakers with a two second pulse and occasional bursts of musical-like sounds.” — Mike Dunford, LFMC catalogue supplement, 1972

Footsteps by Marilyn Halford (1974, b/w, sound, 6 mins)
Footsteps is in the manner of a game re-enacted, the game in making was between the camera and actor,the actor and cameraman, and one hundred feet of film.  The film became expanded into positive and negative to change balances within it; black for perspective, then black to shadow the screen and make paradoxes with the idea of acting, and the act of seeing the screen.  The music sets a mood then turns a space, remembers the positive then silences the flatness of the negative.” — Marilyn Halford, LFMC catalogue, 1978