From Reel to Real: Women, Feminism and the London Film-makers’ Co-operative

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As part of the 50th anniversary celebrations of the London Film-makers’ Co-operative (LFMC), this film programme, which opens Tate Modern’s Counter-Histories series, explores the unique contribution of the women filmmakers associated with the LFMC to both experimental and feminist film. This presentation of more than forty films—both single screen and expanded—by twenty-five filmmakers from different generations, aims to reveal the breadth and diversity of these women’s practices while attempting to foreground commonalities in their approach to filmmaking and to the ways in which film can intersect with feminism.

The LFMC was an artist-led organisation that, from the mid-1960s to the mid-1990s, anchored a vibrant filmmaking community operating independently from the commercial industry. This alternative movement quickly became associated with a mode of filmmaking characterized by a hands-on exploration of the structural and material properties of film, often to lay bare and counteract the ideological conditions of film viewing. Stemming from this context of material experimentation at the LFMC, the women filmmakers featured in this programme maintained an acute awareness of the politics of representation and a constant commitment to experimenting with the language of cinema. However, as the title From Reel to Real suggests, while they built on the methods, processes and ethos associated with the LFMC, they always did so to address the world outside the projection room – to express something of their subjectivity and respond to pressing social and political issues around them.

In addition to having expanded the scope of experimental film practice at the LFMC, these films also pushed the boundaries of what feminist cinema could be. In comparison to the clear activism or the theoretical didacticism of the most visible feminist films of the time, these women filmmakers opposed the open-endedness of artistic expression, embedding a certain sense of uncertainty and experimentation in the process of making. Through an engagement with the formal, material and affective qualities of film, the filmmakers hoped to give voice to submerged aspects of women’s experience and to emancipate the image, the feminine subject and the body from the colonizing forces of patriarchal culture.

The seven screenings comprising this programme not only offer a rare opportunity to see a great number of remarkable films, some for the first time in several decades, but also constitute an attempt to reflect, in the presence of many of the filmmakers, on the ways in which these film practices have contributed to the projects of feminism. This is particularly relevant at a time when, after having mostly focused on language and semiotics, many contemporary film and feminist theorists are re-engaging with materiality in new ways. - Maud Jacquin

Screenings can be booked individually £8 / £6 concessions.
A series ticket for all seven screenings (£35 / £24.50 concessions) is available and can be booked by tel + 44 (0)20 7887 8888 or in person.

Friday, 23 September

6:30pm - 9:00pm
Programme 1: Collapsing The Frame
The screening is followed by a discussion with Nina Danino, Jean Matthee, Jayne Parker and Alia Syed, moderated by the series curator Maud Jacquin.
- Jerk (Sally Potter, UK, 1969, 8mm transferred to digital, black and white, silent, 3 min)
- I Dish (Jayne Parker, UK, 1982, 16mm, black and white, sound, 15 min)
- First Memory (Nina Danino, UK, 1990, 16mm, colour, sound, 20 min)
- One and the Other Time (Sarah Turner, UK, 1990, 16mm, colour, sound, 5 min)
- Unfolding (Alia Syed, UK, 1988, 16mm, black and white, sound, 20 min)
- Faded Wallpaper (Tina Keane, UK 1988, 16mm/digiBeta tape transferred to digital, colour, sound, 20 min)
- Neon Queen (Jean Matthee, UK, 1986, 16mm, colour, sound, 40 min) (extract 25 min)

Saturday, 24 September

1:00pm - 3:45pm
Programme 2: Reclaiming Her Image
The screening is followed by a discussion with Nina Danino, Jean Matthee and Ruth Novazcek, moderated by María Palacios Cruz, curator and Deputy Director of LUX.
- Pictures on Pink Paper (Lis Rhodes, UK, 1982, 16mm, colour, sound, 35 min)
- The New World (Ruth Novaczek, UK-USA-Israel, 2014, Super 8 and digital, colour and black & white, sound, 23 min)
- Antigone’s Cut (Jean Matthee, UK, 1988, 16mm double screen, colour, silent, 11 min)
- “Now I am yours” (Nina Danino, UK, 1992, 16mm, colour and black and white, sound, 34 min)

4:15pm - 6:45pm
Programme 3: Filmic Bodies
The screening is followed by a discussion with Gill Eatherley, Jeanette Iljon, Sarah Pucill and Vicky Smith, moderated by Felicity Sparrow, former LFMC distribution worker and co-founder of Circles.
- Lens Hand Screen (part of Light Occupations series) (Gill Eatherley, UK, 1973-1974, 16mm double screen, black and white, silent, 3 min)
- Lens Hand Foot (part of Light Occupations series) (Gill Eatherley, UK, 1973-1974, 16mm double screen, black and white, silent, 3 min)
- Hand and Sea Film and Lens and Mirror Film (part of Light Occupations series) (Gill Eatherley, UK, 1973-1974, 16mm triple screen, black and white, silent, 3 min)
- Focii (Jeanette Iljon, UK, 1974, 16mm, colour, sound, 6 min)
- Footsteps (Marilyn Halford, UK, 1975, 16mm, black and white, sound, 7 min)
- Slides (Annabel Nicolson, UK, 1976, 16mm, colour, silent, 16 min)
- Edge (Sandra Lahire, UK, 1986, 16mm, colour, sound, 8 min)
- Milk and Glass (Sarah Pucill, UK, 1993, 16mm, colour, sound, 10 min)
- Rash (Vicky Smith, UK, 1997, 16mm, colour, sound, 7 min)
- Terminals (Sandra Lahire, UK, 1986, 16mm, colour, sound, 18 min)

7:30pm - 10:00pm
Programme 4: Inside Out
The screening is followed by a discussion with Jayne Parker, Tanya Syed and Cordelia Swann, moderated by Cécile Chich, independent researcher and former board member of LFMC/LUX.
- K (Jayne Parker, UK, 1989, 16mm, black and white, sound, 13 min)
- The Pool (Jayne Parker, UK 1991, 16mm, black and white, sound, 10 min)
- Looking for the Moon (Moira Sweeney, UK 1995, 16mm, black and white, silent, 7 min)
- Delilah (Tanya Syed, UK, 1995, 16mm, black and white, sound, 11 min)
- Chameleon (Tanya Syed, UK, 1990, 16mm, black and white, sound, 4 min)
- Swollen Stigma (Sarah Pucill, UK, 1998, 16mm, colour, sound, 21 min)
- Phantoms (Cordelia Swann, UK, 1986, Super 8 transferred to digital, colour, sound, 18 min)

Sunday 25 September

2:00pm - 4:15pm
Programme 5: Trapped in Language
The screening is followed by a discussion with Susan Stein, Alia Syed and Anna Thew, moderated by Lucy Reynolds, lecturer, artist and curator in artists’ moving image.
- G (Susan Stein, UK, 1979, 16mm, black and white, sound, 6 min)
- Light Reading (Lis Rhodes, UK, 1978, 16mm, black and white, sound, 20 min)
- Fatima’s Letter (Alia Syed, UK, 1992, 16mm, black and white, sound, 21 min)
- Berlin Meine Augen (Anna Thew, UK, 1982, Super 8 transferred to digital, double screen, colour, sound, 23 min)
- Blurt (Anna Thew, UK, 1983/2016, 16mm transferred to digital, double screen with video, Super 8 and live elements, colour and black and white, sound, 12-15 min)

5:00pm - 7:30pm
Programme 6: 'Woman Tiger, Woman Dove'
The screening is followed by a discussion with Joanna Davis, Vanda Carter and Sarah Wood, artist filmmaker and co-founder of Club des Femmes, moderated by Lucy Reynolds.
- Hey Mack (​Tina Keane, UK, 1982, 16mm, colour, sound, 13 min)
- No. 8 Bus (part of the Hang on a Minute series) (Joanna Davis and Lis Rhodes, UK, 1983, 16mm, colour, sound, 1 min)
- Tea Leaf (Ruth Novaczek, UK, 1988, 16mm transferred to digital, colour, sound, 20 min)
- Goose and Common (part of the Hang on a Minute series) (Joanna Davis and Lis Rhodes, UK, 1983, 16mm, colour, sound, 1 min)
- Glory Boys (Vanda Carter, UK, 1983, Super 8 transferred to digital, colour, sound, 4 min)
- Tiger Lily (part of the Hang on a Minute series) (Joanna Davis and Lis Rhodes, UK, 1983, 16mm, colour, sound, 1 min)
- Fire Film (Annabel Nicolson, UK, 1981, Super 8 transferred to digital, colour, sound, 10 min)
- Windscale (part of the Hang on a Minute series) (Joanna Davis and Lis Rhodes, UK, 1983, 16mm, colour, sound, 1 min)
- Serpent River (Sandra Lahire, UK, 1989, 16mm, colour, sound, 31 min)

There is a prologue to this screening series at Tate Britain on 19 September. Please find more information here.

From Reel to Real: women, feminism and the London Filmmakers’ Co-op is curated by Maud Jacquin in partnership with LUX and Tate Film with the support of FLUXUS. It is presented alongside LUX and Tate Britain’s monthly Co-op Dialogues series, which continues throughout the year.

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Dates: 

Friday, September 23, 2016 (All day) to Sunday, September 25, 2016 (All day)

Venue: 

  • Bankside
    SE1 9TG   London , London
    Reino Unido
    51° 30' 29.3076" N, 0° 5' 54.8628" W