Shoot Shoot Shoot DVD Launch & Performances

SHOOT SHOOT SHOOT DVD LAUNCH
& EXPANDED CINEMA PERFORMANCES
London Candid Arts Trust
Friday 24 November 2006, from 8pm

A special expanded cinema performance event to mark the release of the new LUX / Re:Voir DVD "Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s".

Wave Formations (William Raban, 1977)

The evening will include two performances: Guy Sherwin's CONFIGURATION has not been performed since 1976, and William Raban's WAVE FORMATIONS will be projected for the first time in its new arrangement.

CONFIGURATION (Guy Sherwin, 1976, 10 minutes)
for 2 x Super-8 projectors, live performer
"In this film performance a hand-held projector and a stationary projector reproduce the movements of the two cameras used in making the film. The film was made outdoors in a clearing in a wood. The filmmaker held one camera and moved in a circle around the stationary camera while recording variations of the same view. The two cameras occasionally cross each other's path. In time we see the gradual approach of a figure towards the two cameras and her subsequent involvement in the act of filming. During the performance, the two films are projected together onto a screen. The performer holds one projector and moves in a circle around the stationary projector, echoing the original camera movements. At times, shadows of projector and projectionist are thrown upon the screen." (Guy Sherwin, 2006)

WAVE FORMATIONS (William Raban, 1977-2006, 25 minutes)
for 5 x 16mm projectors, 2 x strobe lights, live performer
"Part one: Variation in Density: The picture on each of the five screens are identical, seven second fades from black, through clear, to black again. The same fade is printed onto the optical sound track to synchronise with the picture. Then follow fades from light to dark. And from dark to light. Part Two: Intermittency: Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-image complementaries." (William Raban, 1978)

The "Shoot Shoot Shoot" DVD will be on sale for a special discounted price of £15 at this event (RRP £19.99). See the separate announcement for further information on this disc. The DVD can also be ordered online from LUX Shop.

www.lux.org.uk

at

Candid Arts Trust
3 Torrens Street, London, EC1V 1NQ
Nearest Tube: Angel
MAP OF AREA

Free Admission. Arrive early to avoid disappointment
www.candidarts.com

Shoot Shoot Shoot

SHOOT SHOOT SHOOT:
BRITISH AVANT-GARDE FILM OF THE 1960s & 1970s
London Tate Modern
10-11 November 2006

At the Academy (Guy Sherwin, 1974)

The 1960s and 1970s were ground-breaking 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 organisation 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. The physical production of a film 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.

SHOOT SHOOT SHOOT is a LUX project. Curated by Mark Webber.

www.lux.org.uk

Slides (Annabel Nicolson, 1970)

Friday 10 November 2006, at 7pm
SHOOT SHOOT SHOOT: 1

The materialist tendency characterised the hardcore of British filmmaking in the early 1970s. Distinguished from structural film, these works were primarily concerned with duration and the raw physicality of the celluloid strip.

Annabel Nicolson, Slides, 1970, colour, silent, 11 mins
Guy Sherwin, At the Academy, 1974, b/w, sound, 5 mins
Mike Leggett, Shepherd's Bush, 1971, b/w, sound, 15 mins
David Crosswaite, Film No. 1, 1971, colour, sound, 10 mins
Lis Rhodes, Dresden Dynamo, 1971, colour, sound, 5 mins
Chris Garratt, Versailles I & II, 1976, b/w, sound, 11 mins
Mike Dunford, Silver Surfer, 1972, b/w, sound, 15 mins
Marilyn Halford, Footsteps, 1974, b/w, sound, 6 mins

Threshold (Malcolm Le Grice, 1974)

Saturday 11 November 2006, at 7pm
SHOOT SHOOT SHOOT: 2

Despite the London Film-Makers' Co-operative workshop's central role in production, not all of the films produced were derived from experimentation with printing and processing. Filmmakers also used language, landscape and the body to create works that explore the essential properties of the medium.

Malcolm Le Grice, Threshold, 1972, colour, sound, 10 mins
Chris Welsby, Seven Days, 1974, colour, sound, 20 mins
Peter Gidal, Key, 1968, colour, sound, 10 mins
Stephen Dwoskin, Moment, 1968, colour, sound, 12 mins
Gill Eatherley, Deck, 1971, colour, sound, 13 mins
William Raban, Colours of this Time, 1972, colour, silent, 3 mins
John Smith, Associations, 1975, colour, sound, 7 mins

...

screening at

Starr Auditorium
Tate Modern, Bankside, London, SE1 9TG
Nearest Tube: Southwark / London Bridge / Blackfriars
MAP OF AREA

Tickets: £4, booking recommended
Box Office: 020 7887 8888

www.tate.org.uk