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Typofilm / Lis Rhodes

Typofilm: Lis Rhodes / Light Reading

Lis Rhodes, Light Reading, 1978, 20 min
   & other works
Introduced by María Palacios Cruz

Amanuensis Unwinds (Lis Rhodes, 1973-2019)

An emblematic figure of the British scene, Lis Rhodes made Light Reading in 1978, an experimental and feminist film noir. Through its voice-over, an investigation into the grammar of gaze and language is developed.

In this artist’s productions, the work of writing maintains a poetic relationship with the presence of the text in its material, handwritten or typographical consistency.

The session is presented by María Palacios Cruz, editor of Telling Invents Told, an anthology of writings by Lis Rhodes published by The Visible Press in 2019.

The screening is part of the “TypoFilm” project, developed within the framework of the ArTeC University Research School, and is organised to coincide with the Extra! 2022 Festival of Literature.

Copies of Telling Invents Told will be available for purchase at the event.

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Film as Film at Anthology Film Archives

Leonor Fini in Genius (1970)

Markopoulos season at Anthology Film Archives, September 2014

The first events to take place following the publication of Film as Film will be a season of four screenings at Anthology Film Archives in New York, from 8-13 September 2014. Beginning with an evening of Markopoulos’ earliest films, the programmes will continue with the first films made by the filmmaker after his relocation to Europe.

“There is no language. There is no art. There is no knowledge. There is but film as film: the beginning and the eternal moment.” (The Intuition Space, 1973)

Gregory J. Markopoulos (1928-92) is one of the most original filmmakers to emerge from the post-war avant-garde. His films, which often translated literary or mythological sources to a contemporary context, are celebrated for their extraordinary creativity, the sensuous use of colour and innovations in cinematic form. A co-founder of the New American Cinema Group, Markopoulos was actively involved in nurturing New York’s film community before moving to Europe at the end of the 1960s to pursue a more individual path. Firmly believing that a filmmaker should be responsibility for all aspects of his work, he developed the idea of Temenos, a monographic archive for the preservation, presentation and study of his films.

In parallel to his filmmaking, Markopoulos was a prolific writer whose articles were circulated in journals, self-published editions or programme notes. This screening series celebrates the publication of Film as Film: The Collected Writings of Gregory J. Markopoulos, a new book that gathers together some ninety out-of-print or previously unavailable texts by the filmmaker.

This is an extremely rare opportunity to see Markopoulos’ earliest works, shown alongside some of the first films made in Europe following his departure from the US in 1967. Robert Beavers and Mark Webber will be present and the book will be available for purchase at the screenings.

Curated by Mark Webber, in collaboration with Robert Beavers and Temenos Archive.

Visit the calendar for details of each screening, or view the programme on the Anthology Film Archives website.

Jonathan Walley on Gidal

Jonathan Walley has constructed an extraordinary response to Peter Gidal’s “Flare Out: Aesthetics 1966–2016” using text and images. The article is available online at World Picture Journal and can also be downloaded as a pdf.

Walley Gidal

The current issue 12 of World Picture (Winter 2017) was guest edited by film artist Luis Recoder and is structured around the theme of “Orthodox.” It opens with a new translation of Theodor Adorno’s “Freud in the Present” and features contributions by Brian L. Frye, Sandra Gibson, Laurence A. Rickels, Kiarina Kordela, Alexander García Düttmann and others.

Peter Gidal’s films Coda I and Coda II (both 2013) can also be streamed online through the journal’s website.

Gidal notebook

Walley writes: “Color plates in the middle of the book begin with reproductions from Gidal’s notebooks, handwriting scrawled on—of all things—graph paper; as if Gidal wanted some visual reminder of the structures he works against. The grid is an almost comically inapt backdrop to his purposely, persistently disordered, Sisyphusian (constantly starting again, re-trying) prose. Graph/draft paper: his writing retains a sense of the draft, the free-write, the process of working out rather than the completed object—the text—that is supposed to result.”  

Endorsements

Slow Writing: Thom Andersen on Cinema
Edited by Mark Webber
The Visible Press, September 2017

“There are few writers and few filmmakers who make me rethink what cinema is more than Thom Andersen. Sometimes this is a matter of introducing fresh perspectives, such as making cinema and architecture more mutually interactive. It’s always a political matter of figuring out just who and where we are, and why.”
—– Jonathan Rosenbaum

“In his disarmingly plainspoken introduction, Thom Andersen more or less apologizes for not becoming a film critic, and for not delivering a manifesto. Personally I’m relieved, and I think you should be as well, because we instead have his superb films, and that is something much more valuable. And now we have Slow Writing, where he shows us just how terrific a critic he hasn’t (mostly) bothered to be, and where he is also free to write brilliantly about his own films. The result of the resonance between this conjunction — writing about his own work alongside that of others — forms, in truth, a kind of quiet manifesto. This book belongs on a very small and special shelf of the most incisive and ungrandiose books by artists, alongside The Collected Writings of Robert Smithson.”
—– Jonathan Lethem

“This collection is a long time coming. Anyone who has seen Los Angeles Plays Itself, that most Proustian of contemporary films, surely agrees that there is no filmmaker quite like Thom Andersen. The intellectual pleasure found on screen comes across gangbusters in his alternately trenchant and jocular criticism. Thom’s writing may not concretely alter the way you see the given films he’s chosen to discuss; the power of his writing is a function of his selectivity. But in a period where generic writing has proliferated, it certainly might change the way you see film criticism. More critics should write so seldom!”
—– Mark Peranson, editor of Cinema Scope magazine

Shoot Shoot Shoot (St Ives)

Shoot Shoot Shoot

Key

An afternoon of screenings celebrating the first decade of the London Film-Makers’ Co-operative (1966–76), the predecessor of LUX. The LFMC was founded in October 1966 as a non-commercial distributor of avant-garde cinema. In contrast to similar groups that emerged around the world, it grew to incorporate a distribution service, cinema space and film laboratory. Within this unique facility, filmmakers were able to control every aspect of the creative process. Many explored the material aspects of celluloid, whilst others experimented with multiple projection and performance-based ‘expanded cinema’. Despite the physical hardship of its survival, this artist-led organisation asserted the significance of British work internationally, and anticipated today’s vibrant culture of artists’ moving image. The early history of the LFMC will be documented in a display of films and ephemera in the Archive Gallery at Tate Britain (25 April to 17 July 2016), and a book will be published by LUX this autumn.

3pm
Guy Sherwin, At The Academy, 1974, 5 min
Marilyn Halford, Footsteps, 1974, 6 min
Peter Gidal, Key, 1968, 10 min
Annabel Nicolson, Slides, 1970, 12 min (18fps)
Malcolm Le Grice, Berlin Horse, 1970, 8 min
Lis Rhodes, Dresden Dynamo, 1974, 5 min
Chris Garratt, Romantic Italy, 1975, 8 min
John Smith, Associations, 1975, 7 min

5pm
William Raban & Chris Welsby, River Yar, 1971–72, 35 min (double screen projection)

Curated and presented by Mark Webber. Screenings are free to attend, but please register via Eventbrite.

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