Notes from the Underground - LFMC 50 - Is It Persisting? Yes

Notes from the Underground  - LFMC 50 - Is It Persisting?  Yes Tues 19 July NFT3 - LFMC 50: Notes from the Underground I, II - 2 screenings celebrating the London Film-Makers' Co-op films and film-makers persisting...
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Reflecting on one of our all time divas and alchemists of dance theatre
26/08/2018
The Guardian

Reflecting on one of our all time divas and alchemists of dance theatre

"He had an ability to create a moment on stage filled with light, music, a painterly sense of the visual, and movement that would expand your imagination. He inhabited Prospero’s magic island where tragedy and comedy collided. His stage imagery required genius."

Revista Lumière
24/02/2018
Revista Lumière

Revista Lumière

Nada menos que Jonas Mekas entrevista al gran Gregory J. Markopoulos sobre algunas de sus películas. Mañana veremos en XCENTRIC CINEMA uno de sus trabajos que despertó mayor entusiasmo en los 60, realizado justo antes de marcharse a vivir a Europa, Eros, O Basileus, protagonizado por el mismísimo Robert Beavers, quien estará en la sala para presentar la sesión.

Gloria, Carolina, Angie, Laia, Diego, Marta, Laia, Alba, Román, Alba, Júlia, Marc, Ana, Lluís, Alberto, Diana, Núria, Cloe, Menina, Hyppølitte, Paola, Anita, Adriana, Ivan, Ana Aitana, Albert, Anna, Yonay, Ariadna, Daniel, Ariadna, Anna, Valentina, María, Mercedes, Oriol, Pere

Revista Lumière
02/02/2017
Revista Lumière

Revista Lumière

Sobre la sesión Anne Rees-Mogg. Sentimental Journey, esta tarde, a las 20h, en XCENTRIC CINEMA, escriben nada menos que Laura Mulvey, Malcom Le Grice y Anna Thew:

02/01/2017
CLING FILM

N.Y./S TATTOO - extract re-filmed from live double screen projection of BROKEN PIECES for the Co-op (16mm, '85 - 2001), with Steven Moore (Even More) and Peter Armstrong in conversation 'on the Art of Cinema' and 'Scorpio' Antonio Bonicci on Lauren Maben's ashes in his new flat in Brixton... N.Y./S Tattoo are Super 8 blow ups to 16mm, Mario Montage is 16mm footage projected, re-filmed off the wall and manipulated on the Film Co-op's JK printer, much faster to do opticals on FInal Cut but you don't get the emulsion... Steve and Peter in their house of pure Merz in Saltoun Road long gone, are on the clockwork Bolex with Anne Rees' M's 25mm macro lens, edited in camera in Super 8 mode

16mm film, 23 mins, premiered Berlin Film Festival Panorama '93 and UK Channel 4 Midnight Underground series (censored version with fireworks, TV noise and…

02/01/2017
BROKEN PIECES for the Co-op, Extract - N.Y./S TATTOO

BROKEN PIECES for the Co-op, Extract - N.Y./S TATTOO

Extract, 10 mins re-filmed on DV from live double screen projection of BROKEN PIECES for the Co-operative, 16mm assemblage, 35 mins, 1985-2001, re-filmed on DV,…

18/07/2016
www.whatson.bfi.org

TOMORROW - BFI/NFT3 -IF YOU HAVEN'T BOOKED YOUR TICKETS YET, GET WEAVING - TICKETS FOR 6:20 PROGRAMME FOR NOTES FROM THE UNDERGROUND IS IT PERSISTING? ARE RUNNING OUT FAST - TICKETS FOR 8:45 PROGRAMME - THE SECOND HALF ARE ON OFFER BOTH SINGLY AND AS A JOINT TICKET SEE www.whatson.bfi.org/LFMC 50 Notes from the Underground HELLO,LOOK AT THAT PICTURE, DO YOU SEE ME NOW?

15/07/2016

TEMPS DE METRE by Yann Beauvais (1980 16mm b/w 17 mins) opens Notes from the Underground LFMC 50 - Is It Persisting?
BFI Southbank NFT 6:20 - book now for BOTH programmes

Yann Beavais' films were distributed by the LFMC Distribution Archive and Temps de Metre screened was deposited and screened in the first ever Distribution Preview Show, a mini annual festival held in the Co-op Cinema, Gloucester Avenue, NW1 in 1981. Yann Beauvais went on with Miles McKane to found LIGHT CONE distribution in Paris, which is still flourishing with the participation of its film-makers and cineastes.

TEMPS DE METRE is "An interrogation of the given minimal units of cinema. The conjugation of these units would produce meaning. Whether a value, or small treatise of communication, the metre imposes itself on us and exhausts us through its power, its eternity. Repetition when you hold us… “Time of Metre is his (Beauvais) purest and hardest film, since it is a presentation of the units of measure, the frame, the film, the screen, time and certainly, the metre. The film is systematic and uniform like the duty to be the whole unit of measure, the rhythmic variants, the accelerandos and ritardandos which you believe you are seeing in the running of this elastic metre, are nothing but retinal and or cerebral illusions.” Deke Dusinberre

NOTES FROM THE UNDERGROUND '80 -'82 - LFMC 50Joint tickets for whole evening now available from BFI Southbank6:20  IS IT...
15/07/2016
Buy cinema tickets for LFMC 50: Notes from the Underground 1980-82: IS IT PERSISTING... | BFI...

NOTES FROM THE UNDERGROUND '80 -'82 - LFMC 50
Joint tickets for whole evening now available from BFI Southbank

6:20 IS IT PERSISTING?
8:45 HELLO, LOOK AT THAT PICTURE! DO YOU SEE ME NOW

Buy cinema tickets for LFMC 50: Notes from the Underground - BFI Southbank
https://whatson.bfi.org.uk/Online/lfmc50itispersisting
https://whatson.bfi.org.uk/Online/lfmc50hellolookatthatpicture
Home / What's on / BFI Southbank ... If you're aged 16 to 25, head down to BFI Southbank 45 minutes before the film starts to grab a last-minute ticket for just £3.

Our celebration of the 50th anniversary of the London Filmmakers’ Co-operative continues with this evening programmed by Anna La Thew and Steve Farrer.

Notes from the Underground - Tues 19 July 8:40 programme Sumptuous images have just arrived for the much awaited Portrai...
12/07/2016

Notes from the Underground - Tues 19 July 8:40 programme

Sumptuous images have just arrived for the much awaited
Portrait Series, double signed by Klonaris/Thomadaki. Super 8 transferred to DV.

'Portrait de Ma Mere dans son Jardin' by Katerina Thomadaki (9.5mins) and 'Sauro Bellini' by Maria Klonaris (11 mins)

NOTHING IS SOMETHING by Anne Rees-Mogg, 1966 10 mins Colour Silent 16mm, made the same year but before the founding of t...
12/07/2016

NOTHING IS SOMETHING by Anne Rees-Mogg, 1966 10 mins Colour Silent 16mm, made the same year but before the founding of the LFMC and LFMC Shoot Shoot Shoot elegram to Jonas Mekas at the New York Film-makers Co-op. Showing on Tues 19 July in Is it Persisting ? 6:20 pm BFI Southbank NFT3 "The title is a quotation from Duchamp. The film is about the colours and structures of soap bubbles, oil on water etc." A.R.M. See more on Anne Rees-Mogg pic and post below. As a painter she began making films whilst teaching at Chelsea School of Art and the Slade in the 1960's when she first encouraged students to pick up the camera. Renny Croft, Chris Welsby, Richard Welsby, Guy Sherwin, Chris Monger, Alexei Sayle, David Pearce, Jenny Okun, Ian Owles, Phil Greenwood, Jock McFadyen, Helen Chadwick, Willi Keddell, Tony Potts, Anna Thew, N.G.Smith, Mark Sheehan, Mark Greaves were all part of her flock and all ventured up to the London Film-makers' Co-op in one or another of her famous Ford Cortinas. See Sentimental Journey 1972, white cortina flanked by 4 black leather clad students on motorbikes arriving at Chelsea School of Art. See also article on A.R.M. by Anna Thew in the Arts Council of GB Directory of British Film and Video Artists, 1995. Anne was a pro active member, executive member, director and from 1980 to her untimely death in December 1984, was chair person of the LFMC holding off the attempted coup at the 1983 AGM by the miltiant feminist group Co-Option who were flexing their newly found Channel 4 backed financial muscle to go mainstream and had thrown the membership book in the canal, the story goes. The Super 8 B2 Gallery humanist mob were in full attendance wearing frocks, lipstick and high heeled shoes and by LFMC film-maker consensus voted in Cordelia Swann (See DER ENGEL, RED, PASSION TRIPTYCH, DESERT ROSE etc) as Cinema Organiser, George Saxon (See WALL SUPPORT, ANOTHER WINDOW, THE HOUSE THAT JACK BUILT, PIG OF HEARTS etc.,) as Workshop Organiser and Vanda Carter (See MOTH FIGHT) and the LFMC was in the hands of the film-makers until the fated break up of the executive in 1991 - See Letter from Anna Thew, Independent Media on the great building debacle...

DER ENGEL by Cordelia Swann and Jim Divers, slide tape, 1981 screens in LFMC 50 Notes on the Underground - 8:45pm Tues 1...
12/07/2016

DER ENGEL by Cordelia Swann and Jim Divers, slide tape, 1981 screens in LFMC 50 Notes on the Underground - 8:45pm Tues 19 July in HELLO, Look at that picture! ...

Der Engel use images connected with Berlin as a city frozen in time.. "Using a composite photograph, bought at Check Point Charlie in Berlin, of two portraits of a young man (one formal the other taken of his body after a failed attempt to escape over the Berlin Wall), DER ENGEL beatifies the image, with a touch of cynicism, by painting it with red ink, gold leaf and light - accompanied by Wagner's 'Wiesendonk-lieder'." - C.S.

Sound recording Jim Divers

Large lens from an old Xenon arc projector from big Steve's studio
10/07/2016

Large lens from an old Xenon arc projector from big Steve's studio

Ghosts of films we screened once upon a time in our beloved London Film-makers' Co-op Cinema, Gloucester Avenue, NW1, su...
10/07/2016

Ghosts of films we screened once upon a time in our beloved London Film-makers' Co-op Cinema, Gloucester Avenue, NW1, superimposed in camera over where the 25ft Harkness roller screen once hung in front of the stage of the British Rail workers social club. See wrecked doorway to Palm Court 'cafe' which had a glazed roof with a cafe/bar, lots of daylight for art, fully equipped dark rooms, edit rooms, posh rostrum, JK optical printer, Super 8 and 16mm 6 and 4 plate Steenbecks, sound transfer bays, b/w processor, flatbeds, continuous run and Debris step printers...
pics from LFMC Demolition 2004 edited from the opening reels of Broken Pieces for the Co-operative twin screen 16mm and Super 8 blow ups 1987-2000/1 - they destroyed our building, they destroyed the negatives of this film, but they'll never destroy our film co-op soul...

George Saxon left performing BLISSFULLY GUNNED DOWN double projection with direct optical sound action for details see b...
10/07/2016

George Saxon left performing BLISSFULLY GUNNED DOWN double projection with direct optical sound action for details see below:-

BLISSFULLY GUNNED DOWN sound performance George Saxon with D John Briscoe on screen - for synopsis see post below
10/07/2016

BLISSFULLY GUNNED DOWN sound performance George Saxon with D John Briscoe on screen - for synopsis see post below

Antics continue at the London Film Co-op, Gloucester Avenue, NW1 circa 1987/8, a whirling 'Orphic Dance' photo strip cou...
10/07/2016

Antics continue at the London Film Co-op, Gloucester Avenue, NW1 circa 1987/8, a whirling 'Orphic Dance' photo strip courtesy of S.F. featuring artists and film-makers Yann Beauvais, Miles McKane (who jointly set up Light Cone distribution, Paris on the LFMC model), Anna Thew and Giuseppe as sprites, dancers Struan Leslie and actor, Adam Elliott (Derek Jarman's Last of England and The Queen Is Dead) filmed by Steve Farrer with his magical 35mm hand cranked rotating Machine producing 1000ft long images uninterrupted by the stop start mechanism of the camera shutter which had been removed, staged in the Co-op Cinema which was painted black and regularly doubled up as a film studio with performance artist, David Medalla in his element directing Orpheus and Eurydice in the Underworld and Sacha Craddock painting the sets.... plus poster for the Chelsea Film Co-op screenings....

Michael Maziere's photos of the LFMC 20 years celebrations 1986, 42 Gloucester Avenue, NW1 - for Annabel Nicholson's art...
10/07/2016

Michael Maziere's photos of the LFMC 20 years celebrations 1986, 42 Gloucester Avenue, NW1 - for Annabel Nicholson's article on the 70's and Anna Thew's article Small Talk Between The Lines on the '80s - see LIGHT YEARS catalogue -Michael Maziere's exquisite Silent Film 11 mins 16mm to DV will be showing in LFMC 50 - Notes from the Underground, Is It Persisting? (Yes, it is!!) 6:20pm Tuesday 19 July, BFI/NFT3.
Michael Maziere ex RCA artist, film-maker and photographer was elected as LFMC Cinema Organiser by the membership, 1985-87.

MACHINE PARTS AND PORTRAITS 1988-1999 Super 8 to 16mm blow up will be winding up the LFMC 50 evening NOTES FROM THE UNDE...
10/07/2016

MACHINE PARTS AND PORTRAITS 1988-1999

Super 8 to 16mm blow up will be winding up the LFMC 50 evening NOTES FROM THE UNDERGROUND programme II 'Hello, Look at that Picture! Do you see me now ?' at the BFI/NFT3 8:40pm on Tues 19 July with juggling, single framing, lugging and hand cranking the 35mm rotatinng MACHINE on a Norfolk beach for the 1988 Diorama expanded show. Anna Thew on camera with Steve Farrer, George Saxon, Martin 'Angel', Cristiano Campus (Gambe, Ponte Carlo) and Rachel Thew (Ra)

10/07/2016

LFMC 50: Notes from the Underground 1980-82

Tuesday 19 July 2016 20:45 NFT3

HELLO, LOOK AT THAT PICTURE... DO YOU SEE ME NOW?

Our celebration of the 50th anniversary of the London Filmmakers Co-operative continues with an evening of 2 screenings programmed by Anna La Thew and Steve Farrer.

Steve and I were elected as Cinema and Distribution organisers at the 1980 LFMC AGM and a life long friendship began. The 1980ʼs were the start of film-makers being actively encouraged to publicise, exhibit, distribute and courier Co-op films, in person, internationally. We were committed to the Co-operative as an act of romantic resistance, its manifesto, its openness, its freedom and a lot of us were from up North.

The Co-op had a new lease on the beautiful British Rail social club building in Gloucester Avenue, Camden, NW1 a palace of underground delights; a black cinema with a 25ft roller screen, blue directorsʼ chairs, a stage, the ʻPalm Courtʼ and the London Musiciansʼ Collective next door. There were weekly cinema programmes, open screens, film-makersʼ solo shows and in 1981-82 the start of the annual Distribution Previews, Summer Shows and the first underground gay film festival in Europe; a heady mix of Super 8, 16mm, multi-screen, performance with film-makers, painters, dancers, sculptors and musicians.

These two programmes illustrate the indomitable Co-operative spirit given the space and inseparable function of a Film-makersʼ Workshop, Cinema and Distribution. Anna and Steve

Introduction by Anna la Thew and Steve Farrer accompanied by
PREMONITION OF ABSURD PERVERSION in Sexual Personae Part 1,1980-1994 Edit for Anna, John Maybury Super 8 to Beta SP

BLISSFULLY GUNNED DOWN 1980-2013
George Saxon double screen 16mm + performance 12min

PORTRAIT SERIES - Diptych - Klonaris/Thomadaki
PORTRAIT DE MA MERE DANS SON JARDIN 1980
Katerina Thomadaki Super 8 10 min
+
SAURO BELLINI 1982
Maria Klonaris Super 8 colour 11.5 min

37/78 TREE AGAIN 1978
Kurt Kren 16mm colour silent 3min

PORTRAIT NO:2 (Anne Rees Mogg) 1974
David Pearce 16mm with sound b/w 8min

MURDER PSALM1980
Stan Brakhage 16mm colour silent US 20min

DER ENGEL 1981
Cordelia Swann twin screeen slide tape digitised to file 4min

SPLEEN 1983
Jo Comino Super 8 twin screen Super 8 digitised to file 8min

MACHINE PARTS AND PORTRAITS 1988-99
Super 8 blow up to 16mm b/w Anna Thew with Steve Farrer, George Saxon, Martin, Christiano Gambe and Ra 5min

https://whatson.bfi.org.uk/LFMC50notesfromtheunderground/HelloLookAtThatPicture,Doyouseemenow?

10/07/2016

BLISSFULLY Gunned Down by George Saxon with D John Briscoe performing on film, opens NOTES FROM THE UNDERGROUND II
HELLO, LOOK AT THAT PICTURE... DO YOU SEE ME NOW ?
LFMC 50 BFI Southbank NFT 3 8:40pm Tues 19 July 2016

George Saxon, performance artist, video artist and film-maker was elected LFMC workshop organiser by the membership 1983-5. He was a member of the celebrated HOUSE WATCH group with Ian Bourne, Lulu Quinn, Tony Sinden, Alison Winkle et al. He appears in the cover photo for MACHINE PARTS AND PORTRAITS

BLISSFULLY GUNNED DOWN by George Saxon
16mm twin screen (durational) performance (1980–2013) 12 mins approx

From an original collaboration with the late D. John Briscoe (1949 – 2013)

The original 16mm negative was shot in 1980 and later processed in a bath. This uncompleted piece of film work was shelved and re-found in 2012. Following John’s death in 2013, the footage was printed and finally performed. John Briscoe performs in these short film sequences, acting a pretend death. The performance with the film is an attempt to orchestrate and animate a synchronous and diegetic sound event on the optical track of the film. Saxon scratches onto the film, scoring the sound ‘live’ as the film runs through the projectors; re-inforcing the visible source on the screen, whilst the rhythmic sound of the ‘shot’ gradually becomes present throughout the filmed action on screen.
First performed at no.w.here, London, October 2013 and as part of ‘A Record of Undying’ at Vivid Projects, Birmingham, 2014 (http://www.vividprojects.org.uk/progra…/a-record-of-undying/)

And here is Malcolm as promised in his element carrying on that 40 year old debate between the two avant-gardes or were ...
10/07/2016

And here is Malcolm as promised in his element carrying on that 40 year old debate between the two avant-gardes or were there really three, or four or five avant gardes and a few rear gardes following on in the footsteps of P Adams Sitney's analysis of that under represented film underground area eloquently defined in Visionary Film, whether you were upset that you weren't old enough or not in the US to be mentioned in the footnotes or not. Malcolm had just performed a magnificent tour de force of the multi screen Mona Lisas digitised an Threshold on the original films in the Blue Room at the BFI Southbank and he was felling very merry. He'd also had it out with the ghost of Stan the Man (Stan Brakhage) personified by that excellent nascent actor Master Herb Schellinger re-staging the 1977 debate between Stan and Malcolm, the US personal document film versus the UK structural materialist, chaleur v. froid. A copy of the text is highly recommended. In truth the UK underground scene was every bit as complex and varied as the US overground and not all saintly abstract penitence - where does Uncle Jeff Keen fit into that narrow confessional canon, or Anne or David Larcher with his magnificent Mare's Tail and Monkeys Birthday. Dog Star Man is not a patch on MB if you're not going to keep taking the same sides. My question is do those who hanker after being able to be accepted into the structuralist materialist church as defined in Peter Gidal's articulate article on the subject which kicked the whole thing off, really understand what Peter intended in relation to his own oeuvre which was hardly to be confused with the debate and clinging to pure abstraction which was raging fiercely in the Art Schools across Europe in the 70's. Was structuralism actually a shared language or pattern for cohesion or for the collective form in the linguistic or sociological sense? And does the LFMC as a demonstration of structuralist materialism in the practical effect of a shared manner of speaking and being, that is non materialistically speaking, as a freely but also very strictly and devotedly if not devoutly formed co-operative of film makers, whether those films are on pure celluloid, or in the digital ether or not, whether that co-operative has any money or any pooled gear or facilities or a home it can call its own or not, does the LFMC not still exist? By the way Martin is an angel and has just unearthed copies of the minutes of all the meetings covered in dust from the 70's through to that fated year 1991. A copy of the original typed up constitution of the LFMC dated 1976 states that the LFMC as itself (not some commercially formed limited company by guarantee to be a registered charity to be in receipt of public subsidy from the Arts Council of little England's) can and could only be dissolved by a motion tabled by a member ( presumably a full member with films in distribution and supported by well over 50% of the London based membership at an EGM called and with notification of ALL the members whether in London, the U.K. Or abroad. Those outside the UK had to have a postal vote. The EGM would have to be quorate all the members having been duly . notified. These were the rules agreed and set in legal stone by agreement in 1976. And the LFMC could not be dissolved at all without a 9/10 majority. So once you'd got into it it was well nigh impossible to destroy it. So anyone interested in copy right and rights holders stakes in valuable art or film collections might like to peruse the erm papers. We have them here. Whatever it certainly means this is s year for LFMC celebrations as the LFMC cannot not actually exist. It couldn't be just buried under the carpet for many a long year before the structural materialist truth was really out. And of course limitation runs from the point of discovery. So bright young things with sparkling wide open eyes the challenge is yours, the future to be had with joy.

Address

BFI Southbank NFT3
London
SE1

Opening Hours

Tuesday 20:40 - 22:30
Tuesday 18:20 - 20:15

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