Synopsis
To tell a history through architecture and music, the film matches the styles of Moscow’s 20th- and 21st-century buildings with electronic variations of the Soviet and Russian national anthem. The juxtaposition captures an aesthetic evolution driven by the evolution of ideology.Read More »
Repertory consists of one continuous tracking shot, during which the camera completely circles the outside of a locked and empty theatre, whilst a voice describes a three week programme of daily ‘imagined presentations’ inside the theatre. The contrast between the documentary image and fictional narrative is exaggerated by the nature of the descriptions, which are wittily absurd and fantastic – the presentations include a domestic interior covered in melting slabs of butter; an old aeroplane, an illuminated fish tank, etc. Extrapolated partly from Breakwell’s frequent visits to Nottingham Playhouse in the late 1950s, the film plays out with peculiar effectiveness his interest in the relationship between words and pictures.Read More »
Guy Sherwin studied painting at Chelsea School of Art in the late 1960s before being drawn to the radical film practice of the London Film-Makers’ Co-operative (now LUX) where he taught printing and processing during the mid-’70s. His films investigate fundamental qualities of cinema such as light and time, and often use serial forms or live elements to extend its possibilities. The unique, elusive qualities of analogue film are explored through experiments with sound, image and film in live performance.Read More »
“This film isn’t listed in the official corpus of Oliver Mosset’s pictorial works, doesn’t appear in the (now historicized) filmography of the Zanzibar group (created one night in May 1968), but is related to Mosset’s photographical oeuvre, a process of random production emancipated from the subject and from representation. Film Porno is only a sequence taken from history, an abstract moment dealing with reality and chance.”
“After having spent a year in Warhol’s Factory, painter Olivier Mosset returned to Paris with an appetite for film and began hosting Super 8 nights in his apartment. UN FILM PORNO is a miniature sample.”Read More »
Mongolia. A place of many stories. Vast and endless steppes, mountains and deserts. Chinggis Khaan, symbol for The Land of the Blue Sky. But what exactly is the true face behind this least populated country of the world?
As an audio and visual experience this film brings you in the middle of a journey through Chandmani Sum, a small village in West Mongolia. Through the eyes of an anonymous person we witness an experimental view on the real life of Mongolian countryside.
–Rowan Lee HartsuikerRead More »
Anne Rees-Mogg was born in 1924 and died in 1984. She studied at Bristol Art School and Central School of Arts and Crafts before becoming an inspiring and dedicated teacher herself at the Regent Street Polytechnic from 1951 and Chelsea School of Art from 1964 to 1984. She was a committed advocate of artist’s filmmaking and was Chair and Director of the London Film-makers’ Co-operative between 1981 – 1984.Read More »
From an article by Natasha Drucbek-Meyer:
Quote:
Russian Parallel Cinema is a unique tradition. It appeared in the Soviet Union in the beginning of the 80s and existed as if there were no strong system of official film. It appeared when world experimental film had 50 years history, but never gave a glance at it.
In the end of the 80s, Parallel Cinema came into fashion, as a part of underground culture. The next decade started with strong desire to bury it, as a part of perestroika fashion. Today the third generation of Parallel Cinema is active. <…>
Social identification of the Parallel Cinema group of film and video makers started in underground and close to CINE FANTOM (historically incorrect name) magazine, the first and only Russian independent selfprinted magazine devoted to cinema. It was founded in Moscow in 1986 by Igor Aleinikov and existed until 1991.
In 1987 the first CINE FANTOM festival was held in Moscow. Since 1995 the CINE FANTOM club exists. If you type you”ll find the CINE FANTOM site. If you type in net search “Russian film”, you”ll find the CINE FANTOM site again.
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Peter Gidal’s cinema is anti-narrative, against representation, and fiercely materialist.
Founded in 1966, the London Film-Makers’ Co-operative started life at Better Books, a counter-culture bookshop on Charing Cross Road, where a group led by poet Bob Cobbing and filmmakers Stephen Dwoskin and Jeff Keen met to screen films. Initially inspired by the activities of the New American Cinema Group in New York, the London Co-op grew into a pioneering organisation that incorporated a film workshop, cinema space and distribution office. During its four-decade history, the Co-op played a crucial role in establishing film as an art form in the UK and participated in a vibrant international film scene. This BFI Player collection brings together new scans of films distributed by and/or produced at the London Co-op.Read More »
An experimental film with no plot. Consists mostly of static shots portraying train wagons. The word COMPOSITION in Serbian has a triple meaning here – a train composition, composition of a shot, and music composition. Regarding the third meaning, the “soundtrack” of the film is a 5 second loop that keeps repeating itself over and over again.Read More »