Tagged: LUX

LUX’s Artists’ Moving Image Publications of the Year 2015 – Marc Karlin – Look Again

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Marc Karlin – Look Again, edited by Holly Aylett. Book published by Liverpool University Press.

‘Overdue reader on British independent filmmaker and advocate Marc Karlin’.

Artist’s Moving Image Publications of the Year, 2015

Many thanks to LUX Artist Moving Image

BFI Experimenta Archive Talk – Anatomy of a Film Restoration – 16 Oct

Explore the processes and ethics of restoring artists’ films with an expert panel.

Taking as its case study Malcolm Le Grice’s seminal 1972 expanded film Threshold (which is currently in the process of being restored for preservation by the BFI National Archive), this panel discussion will explore the processes and ethics of restoring artists’ films, how decisions are shaped by a work’s material elements and the intentions of the artist, its production history, past and future exhibitions, and the working practices of the archive. With Malcolm Le Grice, William Fowler (Curator of Artists’ Moving Image, BFI National Film Archive), Kieron Webb (Film Conservation Manager, BFI National Film Archive). Chaired by Charlotte Procter (Collections Manager, LUX).

Friday 16 October 2015 11:00

On sale 17-09-2015 10:00 am

Picture This, Presents Marc Karlin. Nightcleaners (1975) Q&A with Mike Sperlinger and Humphry Trevelyan

The Berwick Street Collective’s Nightcleaners (1975) was filmed to support an attempt by the women’s movement to unionise London’s night cleaners. Shot in black and white, and punctuated with sections of black leader, Nightcleaners fuses political documentary with a rigorous reflection on the materiality of film and the problems of representing struggle. Here is a short scene.

The collective was founded by Marc Karlin, Humphry Treveleyan, Richard Mordaunt and James Scott. During the filming of Nightcleaners they were joined by artist Mary Kelly. Here is a bio from the early 1970s out of the archive.

Humphry Treveleyan and Marc Karlin were both members of Cinema Action, the left-wing film collective, in the late 1960s but both left dissatisfied with the group’s formal commitment to film-making. With Nightcleaners, those expecting a didactic film, found one that was nuanced and exploratory, both in terms of form and working class representation. The film used black spacing which slowly draws contemplation from the viewer and the fragmented soundtrack, together with time lapse sequences, applied pressure on the image, questioning its ability to record actuality.  At the time, Screen journal declared it undoubtedly the most ‘important political film to have been made in this country’ and predicted it ‘to provide a basis for a new direction in British film-making’ . Claire Johnston’s Jump Cut review proclaimed Nightcleaners was ‘redefining the struggle for revolutionary cinema’.

The revolution failed to materialise and Nightcleaners remained firmly underground. Naturally being a collective project, Nightcleaners seeps many histories and it remains a complicated assignment to gain an exact understanding of the creative intentions of the film from those involved. To this day tensions linger, as you can witness from the exchanges between feminist writer Sheila Rowbotham, a campaigner with the Cleaners Action Group at the time, and Humphry Teveleyan in the Q&A.

That is not to say Nightcleaners ever went away. Indeed, Mike Sperlinger, LUX’s Assistant Director, states from 2002 onwards the film had regular screenings with many different audiences, striking a political chord particularly in a time where the erosion of the trade unions of the 1980s has noticeably come home to roost. Mike also observes a renewed interest in materialist film practises in oppositional film over the past ten years and Humphry Trevelyan adds the film has been adopted recently by the Occupy movement with a screening at UCL.

Nightcleaners (1974) and it’s ‘sequel’ 36′ to 77′ (1978) will soon be released by LUX on DVD.

This Q&A is chaired by Picture This director Dan Kidner with Mike Sperlinger and Humphry Treveleyan and poses the question; does a film need to explore form as well as content to be political?