The 1970s was an enormously creative period for experimental film. Its innovations and debates have had far-reaching and long-lasting influence, with a resurgence of interest in the decade revealed by new gallery events, film screenings and social networks that recognise its achievements. Professor Laura Mulvey, and writer/director Sue Clayton, bring together journalists and scholars at the cutting edge of research into 1970s radical cinema for this collection. Chapters are at once historically grounded yet fused with the current analysis of today’s generation of cine-philes, to rediscover a unique moment for extraordinary film production. Other Cinemas establishes the factors that helped to shape alternative film: world cinema and internationalism, the politics of cultural policy and arts funding, new accessible technologies, avant-garde theories, and the development of a dynamic and interactive relationship between film and its audiences.
Exploring and celebrating the work of The Other Cinema, the London Film-makers’ Co-op and other cornerstones of today’s film culture, as well as the impact of creatives such as William Raban and Stephen Dwoskin – and Mulvey and Clayton themselves – this important book takes account of a wave of socially aware film practice without which today’s activist, queer, minority and feminist voices would have struggled to gather such volume.
Sue Clayton is a screenwriter and film director, and the Director of the Screen School at Goldsmiths, University of London. Her films include The Song of the Shirt (1979), The Disappearance of Finbar (1996) and The Last Crop (1990). She has made 14 award-winning documentaries for Channel 4, BBC, and Central, and a number of music videos.
Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She is the acclaimed author of: Visual and Other Pleasures (1989; second edition 2009), Fetishism and Curiosity (1996; second edition 2013), Citizen Kane (1992; second edition 2012) and Death Twenty-four Times a Second: Stillness and the Moving Image (2006). She made six films in collaboration with Peter Wollen including Riddles of the Sphinx (1977) and Frida Kahlo & Tina Modotti (1984) as well as Disgraced Monuments (1996) with artist/filmmaker Mark Lewis.
Publisher: I.B.Tauris & Co Ltd.
Publication Date: 29 Jun 2017
Number of Pages: 304
Illustrations: 30 black and white illustrations
Exploring the dynamic artists’ and experiential moving image work of 1970s Britain, Towards Other Cinemas is a series of screenings and discussions, exploring the renewed interest in diverse strands of experimental film and video works made in this period. Curated by Laura Mulvey, Sue Clayton, and Claire M. Holdsworth and featuring Steve Presence, Lucy Reynolds, and Kodwo Eshun, we bring together works made in 1970s Britain and explore how younger generations are re-activating this recent past.
The series coincides with the publication of Other Cinemas: Politics, Culture and Experimental Film in the 1970s (IB Tauris, 2017), edited by theorist Laura Mulvey and writer and director Sue Clayton.
In partnership with LUX, London.
Programme 11.00 – 11.30 11.30 – 13.00
13.00 – 14.00 14.00 – 15.30
15.30 – 14.00 16.00 – 18.00
with Sue Clayton and Steve Presence
with Claire M. Holdsworth and Lucy Reynolds
Time and Place
with Laura Mulvey and Kodwo Eshun
Screening followed by a discussion of the Other Cinemas project.
Sue Clayton is a UK feature and documentary film writer and director. Her films include The Song of the Shirt (1979), The Last Crop (1990), The Disappearance of Finbar (1996), Hamedullah: The Road Home (2012) and Calais Children: A Case to Answer (2017). She has made award-winning documentaries for Channel 4 and ITV including How to Survive Lifestyle, Japan Dreaming, and Turning Japanese. She is a Professor and founding Director of Screen School at Goldsmiths (University of London), and co-author with Laura Mulvey of Other Cinemas: Politics, Culture and Experimental Film the 1970s (IB Tauris, 2017).
Dr Steve Presence is a Research Fellow in Film and Television Studies at the University of the West of England (UWE), Bristol. He is a founder member of the Bristol Radical Film Festival, and founding member and convenor of the Radical Film Network (RFN) – an international network of organisations involved in politically-engaged and aesthetically innovative film culture, which has claimed the IFVA Independent Film and Video Makers’ Association, formed in the 1970s) as one of its formative influences. Steve is also Principal Investigator on the AHRC-funded research project, ‘Sustaining Alternative Film Cultures’.
Dr Claire M. Holdsworth is an archivist and writer. A Research Fellow at Kingston School of Art (Kingston University London) specialising in British artists’ moving image (1970s/1980s), her research explores sound, the voice, authorship and oral histories in relation to archives and historiography. Holdsworth assisted with research and editing of the anthology Other Cinemas: Politics, Culture and Experimental Film in the 1970s (eds. Sue Clayton and Laura Mulvey, IB Tauris, 2017), to which she also contributed as an author.
Dr Lucy Reynolds is Senior Lecturer and researcher at Westminster University. She has published extensively and curated exhibitions and programmes for a range of institutions, most particularly focused on questions of the moving image, feminism, political space and collective practice, and is currently editing an anthology on Women Artists, Feminism and the Moving Image (IB Tauris, 2018). As an artist Reynolds’ films and installations, which include the ongoing sound work A Feminist Chorus, have been presented in galleries and cinemas nationally and internationally.
Laura Mulvey is Professor of Film and Media Studies at Birkbeck, University of London. She is the author of Visual and Other Pleasures (1989, new edition 2009) Fetishism and Curiosity (1996, second edition 2013) and Death Twenty-four Times a Second: Stillness and the Moving Image (2006). She made six films in collaboration with Peter Wollen, including Riddles of the Sphinx (1977) and Frida Kahlo and Tina Modotti (1984), as well as Disgraced Monuments (1996) with artist/filmmaker Mark Lewis.
Kodwo Eshun is Lecturer in Contemporary Art Theory at Goldsmiths University London, Visiting Professor, Haut Ecole d’Art et Design, Genève and co-founder of the Otolith Group. He is the author of More Brilliant than the Sun: Adventures in Sonic Fiction (1998) and co-editor of Post Punk Then and Now (2016), Harun Farocki Against What? Against Whom? (2010) and The Ghosts of Songs: The Film Art of the Black Audio Film Collective 1982–1998 (2007).
The Centre for Film & Ethics at Queen Mary University of London, in collaboration with Close-Up Cinema, is pleased to host a masterclass on political cinema by acclaimed American documentary filmmaker John Gianvito.
John Gianvito is a filmmaker, teacher, curator, and critic. His films include the feature films The Flower of Pain (1983) and The Mad Songs of Fernanda Hussein (2001). In 2010, Gianvito’s meditative film essay Profit Motive and the Whispering Wind(2007) was named one of the 50 greatest documentaries of all time by Time Out (New York).
This masterclass, which focuses on political filmmaking, follows the first complete London/UK screening of For Example, the Philippines, a nine hour diptych consisting of Vapor Trail (Clark)(2010), and Subic (Wake) (2015), that patiently unearths the violent legacies of American colonialism and militarism in the island nation.
Mon 6 November 2017
13:00 – 15:00 GMT
John Akomfrah on his practice with archive film at Artes Mundi 7 Conference at National Museum Cardiff, January 2017.
Jean-Marie Barbe and Arnaud Lambert | France | 2016 | 144 minutes
The life and work of Chris Marker could easily fill several documentary portraits, maybe even several freight trains, but directors Jean-Marie Barbe and Arnaud Lambert have kept it to a brisk 144 minutes. As our guest curator Thierry Garrel states in his introductory essay, Never Explain, Never Complain “portrays the cinéaste and his works through testimonies of seven people who knew him and worked with him.”
“Who is Chris Marker?” — is the question posed by the directors/ interlocutors, and every answer reveals a different reality. Some of the recollections are funny and bittersweet, such as Wim Wenders getting blind drunk with Marker at a bar in Tokyo. “That night at La Jetée is the time when we talked most, but we drank so much sake and vodka that we forgot most of it,” says Wenders. As André S. Labarthe states simply: “He was a free spirit.”
One thing is clear, over the length of his career Marker was never content to do or be only one thing. Writer, filmmaker, photographer, polymath, cat lover — there is no single term that quite suffices. Marker was also no stranger to trouble. Statues Also Die (Les Statues meurent aussi), co-directed with Alain Resnais, was immediately banned by the French government. The rest of his major work galloped forth, unpredictable, wildly inventive, fearless, and free-roaming — Le Joli mai (1962), La Jetée (1962), Far from Vietnam (Loin du Viêt-nam) in 1967. In 1977, Marker released Le Fond de l’air est rouge (A Grin Without a Cat), that captured the rise and fall of 1960s radicalism. Patricio Guzman talking about Marker’s masterwork says: “he faces the world, faces history, and seems surprised…You get no answers by the end of the film. Only reflections, words thrown in the air.” In this era of ongoing crises, Marker’s work is more vital, more critical than ever, but the man remains elusive. Slyly winking out from this expansive film portrait with a single word. Can you guess what it is? -DW
The Politics of Race in Contemporary Film and Digital Practice
Venue: Goldsmiths, University of London (Day One) and Institute of Contemporary Arts (Day Two)
Professor Sarita Malik, Brunel University
Dr Kara Keeling, University of Southern California
Whether we consider the rise of the concept of diversity, the on-screen representation of identities, the off-screen workforce, the production trends of film institutions, new forms of independent production opened up by new media, or film education and talent development, questions of race and ethnicity remain central to contemporary British film.
This conference will mark nearly 30 years since the original Black Film, British Cinema conference at the ICA and its subsequent publication, which has been a huge influence on scholars exploring race, culture and the politics of representation. Some of its core thinking by Kobena Mercer, Stuart Hall, Paul Gilroy and others remains an excellent point to consider what has, and has not, become of black and Asian film and TV production in the UK.
The aim of this two-day conference is to consider the politics of race in contemporary British cinema and visual practice and reflect on almost 30 years of black film production vis-a-vis the institutional, technological, textual, cultural and political shifts that have occurred during this period. The conference will welcome scholars, early career researchers, postgraduate students and practitioners working at the intersection of film, TV, Moving Image, Media and Communication studies, Sociology, Politics and Cultural Studies.
This conference has been organised by University of Greenwich, Goldsmiths, the Institute of Contemporary Arts and co-supported by the Sociological Review Foundation.
WHAT IS INCLUDED IN THE FULL CONFERENCE/DAY ONE TICKET PRICE?
Ticket price includes entrance to the conference on Thursday and Friday. Lunch will be provided on Thursday and there will be a drinks reception following the first day of the conference on Thursday evening at the Professor Stuart Hall Building at Goldsmiths University of London. Tea, coffee and cold drinks will also be provided at regular intervals during the conference.
AM I ELIGIBLE FOR THE CONCESSION RATE?
Concessional rates are valid for full-time students (including postgraduate/PhD students), seniors (60+), registered disabled persons and benefit recipients (JSA).
TRAVEL AND ACCOMODATION
Both Goldsmiths and the ICA are close to comprehensive transport links, so getting there won’t be a problem. Just follow the link here https://tfl.gov.uk/plan-a-journey/ for more information. For information about where to stay during the conference just follow the link to Visit London http://www.visitlondon.com/
HOW CAN I CONTACT THE ORGANISER WITH ANY QUESTIONS?
Please contact Dr Clive James Nwonka – email@example.com
Film as a radical pedagogic tool refers to film in its most complete sense as praxis, where the categories of theory and practice are integrated, where film becomes both concept and method. Pedagogy is concerned with education, not only in the conventional model of knowledge transmission and acquisition but as a reaction to our environment and our personal experiences and how we react to that environment and what sense we make of those experiences. Film as praxis attempts to contest the structural weight of the power concentrated in elites and to create opportunities for the working class-specifically by fostering a critical engagement with the structural and ideological underpinnings of the media in our neo liberal corporatist world, Therefore film as a radical tool, refers to the meshing of film and pedagogy as a force for social and political change.
The aim of this workshop is to explore the potential of a radical pedagogy of film as a way of providing working class people with an education that fosters the development of a critical awareness around issues of identity (classed, gendered and racial), cultural representation and ideolog
This workshop will explore the importance both in theory and in practice of working class people telling their own stories and representing their own experinces. Most representations of working class people are made by the middle class graduates of Russell Group universities who have no expereince of working class life and who are not anchored in the strugges of working class people -we will draw on the work of inside film -there will be clips from some of the films made by the peope we have worked with- a presentation explaining the underlying philosophy of a radical pedagy of film and a discussion of how we might implement these ideas more widely.