LEADER 00000cam a2200541Ii 4500 001 993778614 003 OCoLC 005 20171025100938.0 008 170303t20172017enka b 001 0 eng d 019 950745361|a953439635|a974858124 020 9781784537180|qhardback 020 1784537187|qhardback 020 |z9781786722041|qebook 020 |z1786722046|qebook 020 |z9781786732040|qePDF 020 |z1786732041|qePDF 040 YDX|beng|erda|cYDX|dERASA|dBTCTA|dYDXCP|dBDX|dCGU|dGSU |dIUL|dOCLCF|dHTM|dCUY 050 4 PN1995.9.E96|bO84 2017 082 04 791.43611|223 245 00 Other cinemas :|bpolitics, culture and experimental film in the 1970s /|cedited by Sue Clayton and Laura Mulvey. 264 1 London :|bI.B. Tauris,|c[2017] 264 4 |c©2017 300 x, 357 pages :|billustrations ;|c23 cm 336 text|btxt|2rdacontent 336 still image|bsti|2rdacontent 337 unmediated|bn|2rdamedia 338 volume|bnc|2rdacarrier 504 Includes bibliographical references (pages 331-345) and index. 505 00 |tIntroduction /|rSue Clayton and Laura Mulvey --|g1. |tSemiotics and 1970s British film culture /|rNicolas Helm -Grovas --|g2.|tListening to women /|rSophie Mayer --|g3. |tPolitical contexts of 1970s independent filmmaking / |rSteve Sprung and Anthony Davies --|g4.|tPlatforms of history: Brecht and the public uses of radical history in 1970s independent cinema /|rColin Perry --|g5.|tAudiences: not an optional extra: artists' distribution practices from the London film-makers' co-op to Lux /|rJulia Knight --|g6.|tEngaging material specificities: aesthetics and politics in the 1970s /|rKim Knowles --|g7.|tThe technologies and practices of 1970s community video in the UK /|rEd Webb-Ingall --|g8.|t'Whose history?' Feminist advocacy and experimental film and video /|rLucy Reynolds --|g9.|tA whole new attitude: the London film-makers' co- op in the decade of structural/materialism /|rSteven McIntyre --|g10.|tThe 'salvage' of working-class history and experience: reconsidering the Amber Collective's 1970s Tyneside documentaries /|rJamie Chambers --|g11. |tTelevision interventions: experiments in broadcasting by artists in Britain in the 1970s and 1980s /|rCatherine Elwes --|g12.|tBritain's black filmmaking workshops and collective practice /|rDaniella Rose King --|g13.|tViews of River Yar: reconsidering Raban and Welsby's landmark landscape film /|rFederico Windhausen --|g14.|tBetween seeing and knowing: Stephen Dwoskin's Behindert and the camera's caress /|rRachel Garfield --|g15.|tRapunzel, let down your hair /|rAmy Tobin --|g16.|t'On her devolves the labour': the cinematic time travel of The Song of the Shirt /|rKodwo Eshun --|g17.|tMemories of the other cinema /|rNick Hart-Williams --|g18.|tOrganising for innovation in film and television: the independent film-makers' association in the long 1970s /|rSimon Blanchard and Claire M. Holdsworth --|g19.|tThe International Forum on Avant-Garde Film at the Edinburgh Film Festival, 1976: interview with Lynda Myles /|rKim Knowles --|g20.|tThe workshop declaration: independents and organised labour / |rClaire M. Holdsworth --|g21.|tCampaigning for innovation and experiment on Channel 4 /|rClaire M. Holdsworth and Rod Stoneman. 506 Pacific Film Archive collection; non-circulating. |5 CBPF. 520 8 Its innovations and debates have had far-reaching and long -lasting influence, with a resurgence of interest in the decade revealed by new gallery events, film screenings and social networks that recognise its achievements. Professor Laura Mulvey, and writer and director Sue Clayton, bring together journalists and scholars at the cutting edge of research into 1970s radical cinema for this collection. Chapters are at once historically grounded yet fused with the current analysis of today's generation of cine-philes, to rediscover a unique moment for extraordinary film production. Other Cinemas establishes the factors that helped to shape alternative film: world cinema and internationalism, the politics of cultural policy and arts funding, new accessible technologies, avant-garde theories, and the development of a dynamic and interactive relationship between film and its audiences.Exploring and celebrating the work of The Other Cinema, the London Film- makers' Co-op and other cornerstones of today's film culture, as well as the impact of creatives such as Stephen Dwoskin, Derek Jarman, and Sally Potter - and Mulvey and Clayton themselves - this important book takes account of a wave of socially aware film practice without which today's activist, queer, minority and feminist voices would have struggled to gather such volume. 650 0 Experimental films|xHistory and criticism. 650 7 Experimental films.|2fast|0(OCoLC)fst00918452 655 7 Criticism, interpretation, etc.|2fast|0(OCoLC)fst01411635 700 1 Clayton, Sue,|eeditor. 700 1 Mulvey, Laura,|eeditor. 956 20171025|bpfmcq|cCC 957 OCLC xref loaded 20171105 994 C0|bCUY