From: ADAM ABRAMS (email suppressed)
Date: Mon Oct 15 2007 - 13:07:13 PDT
Hey,
Is this program touring around the states? Can you mix and match? We've shown a number of these films from the new york co-op. Any info would be appreciated.
Thanks,
Adam
jefferson presents...
pittsburgh
> Date: Mon, 15 Oct 2007 12:07:03 -0700
> From: email suppressed
> Subject: Cinema Project Presents -- Shoot Shoot Shoot
> To: email suppressed
>
> Hello Frameworkers,
>
> We wanted to remind you all about a very important upcoming screening this Tuesday October 16th and Wednesday October 17th. Cinema Project will be having the North American Premiere of Shoot Shoot Shoot -- a selection of 16mm films from the London Filmmakers Co-Operative circa 1960's--1970's. This program was curated by Mark Webber and distributed by LUX UK [see description below]. It is a rare chance to see groundbreaking work by filmmakers including John Smith, Malcom Le Grice, and Guy Sherwin among many others.
>
> We know the days are getting shorter and the rains are on the way, but resist the urge to hibernate and join us!
>
> Much Love,
>
> Cinema Project
>
> Autumn Campbell & Jeremy Rossen
>
>
> October 16 + 17 2007
> New American Art Union [922 SE Ankeny]
> Portland Oregon USA
> 7:30pm
> www.cinemaproject.org
>
> The 1960s and 1970s were groundbreaking decades in which independent filmmakers challenged cinematic convention. In England, much of the innovation took place at the London Film-Makers' Co-operative, an artist-led organization that enabled filmmakers to control every aspect of the creative process. LFMC members conducted an investigation of celluloid that echoed contemporary developments in painting and sculpture. During this same period, British filmmakers also made significant innovations in the field of "expanded cinema", creating multi-screen projections, film environments and live performance pieces.
>
> The physical production of a film (its printing and processing) became integral to its form and content as Malcolm Le Grice, Lis Rhodes, Peter Gidal and others explored the material and mechanics of cinema, making radical new works that contributed to a new visual language. The London Film-Makers' Co-operative, established in 1966, grew from a film society at the heart of London’s sixties counterculture to become Europe's largest distributor of experimental cinema and was recognized internationally as a major centre for avant-garde film.
>
> October 16
>
> Slides by Annabel Nicolson [1970, 16mm, color, silent, 11 min]
> At the Academy by Guy Sherwin [1974, 16mm, b&w, sound, 5 min]
> Shepherd's Bush by Mike Leggett [1971, 16mm, b&w, sound, 15 min]
> Film No. 1 by David Crosswaite [1971, 16mm, color, sound, 10 min]
> Dresden Dynamo by Lis Rhodes [1971, 16mm, color, sound, 5 min]
> Versailles I & II by Chris Garratt [1976, 16mm, b&w, sound, 11 min]
> Silver Surfer by Mike Dunford [1972, 16mm, b&w, sound, 15 min]
> Footsteps by Marilyn Halford [1974, 16mm, b&w, sound, 6 min]
>
> October 17
>
> Threshold by Malcolm Le Grice [1972, 16mm color, sound, 10 min]
> Seven Days by Chris Welsby [1974, 16mm, color, sound, 20 min]
> Key by Peter Gidal, [1968, 16mm, color, sound, 10 min]
> Moment by Stephen Dwoskin [1968, 16mm, color, sound, 12 min]
> Deck by Gill Eatherley [1971, 16mm, color, sound, 13 min]
> Colours of this Time by William Raban [1972, 16mm, color, silent, 3 min]
> Associations by John Smith [1975, 16mm, color, sound, 7 min]
>
> _________________________________________________________________
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>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.