303

BIBLIOGRAPHY Books and Exhibition Catalogues Angell, Callie, The Films of Andy Warhol: Part II, (New York: Whitney, 1994) Berger, John, Ways of Seeing, (London: Penguin, 1972) Brakhage, Stan, Essential Brakhage: Selected Writings on Filmmaking, (New York: McPherson, 2001) Breakwell, Ian, The Artist’s Dream: Stories and Pictures by Ian Breakwell, (London: Serpent’s Tail, 1988) Coe, Jonathan, Like a Fiery Elephant: The Story of B.S. Johnson, (London: Picador, 2004) Curtis, David, Experimental Cinema (New York: Universe Books, 1971) Curtis, David, A History of Artists’ Film and Video in Britain, (London: BFI Publishing, 2007) Dwoskin, Stephen, Film Is: The International Free Cinema, (London: Peter Owen, 1975) Gidal, Peter, Structural Film Anthology, (London: BFI, 1976) Gidal, Peter, Materialist Film, (London: Routledge, 1989) Gordimer, Nadine, Beethoven was One-Sixteenth Black, (London: Bloomsbury, 2008) Hamlyn, Nicky, Film Art Phenomena, (London: BFI, 2003) Harvey, Sylvia, Independent Cinema?, (Stafford: West Midlands Arts, 1978) Harvey, Sylvia, May ’68 and Film Culture, (London: BFI, 1980) Harper, Sue, Women in British Cinema: Mad, Bad and Dangerous to Know, (London: Continuum, 2000) Hein, Wilhelm and Hein,Birgit, Dokumente 1967-1985 Fotos, Briefe, Texte, (Frankfurt: Pippert + Koch, 1985) Hewison, R., Too Much: Art and Society in the Sixties 1960-75, (London: Methuen, 1988) Hutchison, Alice L., Kenneth Anger, (London: Black Dog Publishing, 2004) Jarman, Derek, The Last of England, (London, Constable, 1987)

304

Jarman, Derek, Dancing Ledge, (Minneapolis: University of Minnesota Press, 2010) Jenkins, Keith, Re-thinking History, (London: Routledge, 2003) Lawder, Standish D., The Cubist Cinema, (New York: New York University Press, 1975) Le Grice, Malcolm, Abstract Film and Beyond, (London: Studio Vista, 1977) Le Grice, Malcolm, Experimental Cinema in the Digital Age, (London: BFI Publishing, 2001) MacDonald, Scott, Avant-Garde Film, (Cambridge, Cambridge University Press, 1993) MacDonald, Scott, A Critical Cinema 5: Interviews with Independent Filmmakers, (California: University of California Press, 1998) Marzona, Daniel, Conceptual Art, (Cologne: Taschen, 2006) Mellencamp, Patricia, Indiscretions: Avant-garde Film,Video and Feminism, (Indianapolis: Indiana University Press, 1990) Naficy, Hamid, An Accented Cinema: Exilic and Diasporic Filmmaking, (New Jersey, Princeton University Press, 2001) Nuttall, Jeff, Bomb Culture, (London: Paladin, 1972). O’Doherty, Brian, Inside the White Cube: the Ideology of the Gallery Space, (Santa Monica: The Lapis Press, 1986) O’Pray, Michael, Avant-garde Film: Forms, Themes and Passions, (London: Wallflower, 2003) Penley, Constance, Future of an Illusion: Film, Feminism and Psychoanalysis, (Minneapolis: University of Minnesota Press, 1989) Ray, R. B., The Avant-garde Finds Andy Hardy, (Cambridge: Harvard University Press, 1995) Rees, A. L., A History of Experimental Film and Video, (London: BFI, 1999) Reekie, Duncan, Subversion: The Definitive History of Underground Cinema, (London: Wallflower Press, 2007) Rodowick, D. N., The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Criticism, (Berkeley: University of California Press, 1995) Russell, Catherine, Experimental Ethnography: The Work of Film in the Age of Video, (London: Duke University Press, 1999)

305

Schneemann, Carolee, Imaging Her Erotics: Essays, Interviews, Projects, (Cambridge: The MIT Press, 2003) Sitney, P. Adams, Visionary Film: American Avant-Garde 1943-1978, (New York: Oxford University Press, 1979). Stevens, Jay, Storming Heaven: LSD and the American Dream, (London: Harper Collins, 1993) Thoms, Albie, Polemics for a New Cinema, (Australia: Wild and Woolley, 1978) Walker, John A., Left Shift: Radical Art in 1970s Britain, (London: I. B. Tauris, 2002) Walsh, M, The Brechtian Aspect of Radical Cinema, (London: BFI, 1981) Wees, William C., Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film, (California: University of California Press, 1992) Wollen Peter, Signs and Meanings in the Cinema, (London, Secker & Warburg, 1972) Whelehan, Imelda, Modern Feminist Thought: From the Second Wave to ‘Post-Feminism’, (Edinburgh: Edinburgh University Press, 1996) Wymer, Rowland, Derek Jarman, (Manchester: University of Manchester Press, 2005) Wyver, John, Vision On: Film, Television and the Arts in Britain, (London: Wallflower Press, 2007) Edited Collections Brunsdon, Charlotte, (ed.), Films for Women, (London: BFI, 1986) Cook, Benjamin and Todd, Peter and (eds.), Subjects and Sequences: A Margaret Tait Reader, (London: LUX, 2004) Comer, Stuart (ed.), Film and Video Art, (London: Tate, 2009) Cowie, Elizabeth (ed.), British Film Institute Productions Catalogue: 1977-1978, (London: BFI, 1978) David Curtis (ed.), Perspectives on British Avant-Garde Film (London: Hayward, 1977) Curtis, David and Dusinberre, Deke (eds.), A Perspective on English Avant-Garde Film (London: Arts/British Council, 1978) Curtis, Daivd (ed.), A Directory of British Film & Video Artists, (London: Arts Council, 1995)

306

Danino, Nina and Mazière, Michael (eds.), The Undercut Reader: Critical Writings on Artists’ Film and Video (London: Wallflower Press, 2003) De Lauretis, Teresa and Heath, Stephen (eds.), Cinematic Apparatus, (London: Macmillan Press, 1980) Dickinson, Margaret (ed.), Rogue Reels: Oppositional Film in Britain, 1945-90 (London: BFI, 1999) Dusinberre, Deke and Rees, A. L. (ed.), Film as Film: Formal Experiment in Film 1910-1975, (London: Arts Council/Hayward Gallery, 1979) Eamon, Christopher (ed.), Anthony McCall: The Solid Light Films and Related Works, (Göttingen: Steidl, 2005) John Ellis (ed.), Catalogue of BFI Productions 1951-76 (London: BFI, 1977) Erens, Patricia, (ed.) Sexual Stratagems: The World of Women in Film, (New York: Horizon Press, 1979) Greenberg, Reesa, Ferguson, Bruce W. and Nairne, Sandy (eds.), Thinking about Exhibitions, (London: Routledge, 1996) Harris, Oliver and Macfadyen, Ian (eds.), Naked Lunch @ 50: Anniversary Essays, (Illinois, Southern Illinois University Press, 2009) Harrison, Charles and Wood, Paul (eds.), Art in Theory 1900-1990: An Anthology of Changing Ideas, (Oxford: Blackwell, 2000) Hatfield, Jackie and Littman, Stephen (eds.), Experiments in Moving Image, (Luton: EpiGraph, 2004) Hatfield, Jackie (ed.), Experimental Film and Video: An Anthology, (Eastleigh: John Libbey Publishing, 2006) Kostelanetz, Richard (ed.), Moholy-Nagy, (London: Penguin Press, 1971) Larner, Melissa (ed.), Derek Jarman: Brutal Beauty, (London: Koenig Books, 2008), Exhibition catalogue Leighton, Tanya (ed.), Art and the Moving Image: A Critical Reader, (London: Tate/Afterall, 2008) Malpas, Simon and Wake, Paul (eds.), The Routledge Companion to Critical Theory (London: Routledge, 2006) Moore-Gilbert, Bart, (ed.), The Arts in the 1970s: Cultural Closure?, (London: Routledge, 1993)

307

Mulvey, Laura and Sexton, Jamie (eds.), Experimental British Television, (Manchester: Manchester University Press, 2007) O’Pray, Michael (ed.), Avant-Garde Film 1926-1995: an Anthology of Writings, (Luton, University of Luton, 1996) Parker, Rozsika and Pollock, Griselda (eds.), Framing Feminism: Art and the Women’s Movement 1970-1985, (London: Pandora Press, 1987) Phillpot, Clive and Tarsia, Andrea, Live in Your Head: Concept and Experiment in Britain 1965-75, (London: Whitechapel, 2000) Sitney P. Adams (ed.), Film Culture: An Anthology, (London: Secker & Warburg, 1971) Sitney, P. Adams (ed.), The Avant-Garde Film: a Reader of Theory and Criticism, (New York: New York University Press, 1978) Stangos, Nikos (ed.), Concepts of Modern Art, (London: Thames and Hudson, 1994) Stoneman, Rod and Thompson, Hilary (eds.), British Film Institute Productions Catalogue: The New Social Function of Cinema: ‘79/’80, (London: BFI, 1981) Webber, Mark (ed.), Shoot Shoot Shoot: The First Decade of the London Filmmaker’s Co-operative and British Avant-garde Film 1966-76 (London: LUX, 2002) Roger Wollen (ed.), Derek Jarman: A Portrait, Artist, Film-maker, Designer, (London: Thames and Hudson, 1996) Essays and Chapters in Edited Collections and DVD Books Barrett, Cyril, ‘Kinetic Art’ in Nikos Stangos (ed.), Concepts of Modern Art, (London: Thames and Hudson, 1994), pp. 213-223 Carter, Vanda, ‘Not Only Animation’ in Michael Mazière and Nina Danino (eds.), The Undercut Reader: Critical Writings on Artists’ Film and Video, (London: Wallflower press, 2003), pp. 168-170 Cook, Pam, ‘The Point of Expression in Avant-Garde Film’ in Elizabeth Cowie (ed.), Catalogue British Film Institute productions: 1977-1978, (London: BFI, 1978), pp. 53-56 Curtis, David, ‘English Avant-Garde Film: An Early Chronology’ in A Perspective on English Avant-Garde Film, (London: Arts Council, 1978), pp. 9-18 Danino, Nina, ‘The Intense Subject’ in Nino Danino and Michael Maziere (eds.), The Undercut Reader: Critical Writings on Artists’ Film and Video, (London: Wallflower press, 2003), pp. 8-12 Darke, Chris, ‘Mind Games’ in Anti-Clock DVD, (London: BFI, 2009), pp. 1-3

308

Dusinberre, Deke, ‘The Ascetic Task: Peter’s Gidal’s Room Film 1973’ in Peter Gidal (ed.), Structural Film Anthology, (London: BFI, 1976), pp. 109-113 Dusinberre, Deke, ‘St George in the Forest’ in A Perspective in English Avant-garde Film, (London: Arts Council, 1978); pp. 43-48 Dusinberre, Deke, ‘A Perspective on English Avant-Garde Film’ in A Perspective on English Avant-Garde Film, (London: Arts Council/British Council, 1978), pp. 7-8 Fowler, William, ‘Encounters with Central Bazaar’, in Central Bazaar DVD, (London: BFI, 2009), pp. 2-6 Gidal, Peter, ‘Technology and Ideology in/through/ and Avant-Garde Film: An Instance’ in Teresa de Lauretis and Stephen Heath (eds.), Cinematic Apparatus, (London: Macmillan Press, 1980), pp. 151-165 Grasskamp, Walter, ‘For Example, Documenta, or, How is Art History Produced?’ in Reesa Greenberg, Bruce W Ferguson and Sandy Nairne (eds.), Thinking about Exhibitions, (London: Routledge, 1996), pp. 67-78 Hamlyn, Nicky, ‘From Structuralism to Imagism: Peter Gidal and his Influence in the 1980s’ in Michael Mazière and Nina Danino (eds.), The Undercut Reader: Critical Writings on Artists’ Film and Video, (London: Wallflower Press, 2003), pp. 233-238 Harvey, Sylvia, An Introduction to ‘The Song of the Shirt’ in Charlotte Brunsdon, Films for Women (ed.), (London: BFI, 1986), pp. 44-48 Hendrikson, Henrik, ‘Monkey’s Birthday’ in Perspectives on British Avant-garde Film, (London: Hayward, 1977), loose leaf Haug, Kate, ‘Interview with Kate Haug’ in Carolee Schneemann: Imaging Her Erotics: Essays, Interviews, Projects, (Massachusetts: The Mit Press, 2003), p. 21-44 Iles, Chrissie, ‘Derek Jarman’ in Larner, Melissa (ed.), Derek Jarman: Brutal Beauty, (London: Koenig Books, 2008); pp. 64-73 Jenkins, Bruce, ‘Fluxfilms in Three False Starts’ in Tanya Leighton (ed.), Art and the Moving Image: A Critical Reader, (London: Tate Publishing, 2008), pp. 53-71 Joseph, Branden W. ‘Sparring with the Spectacle: Parts 1-5’ in Christopher Eamon (ed.), Anthony McCall: The Solid Light Films and Related Works, (Göttingen: Steidl, 2005), pp. 36-77 Kimberley, Nick, ‘Introduction’ in Ian Breakwell, Diary 1964-1985, (London: Pluto Press, 1986), p. 8 Knight, Julia, ‘Materials, Materials, Materials: Questions of Technology and History’, in Nino Danino and Michael Mazière (eds.), The Undercut Reader, (London: Wallflower Press, 2003), pp.17-21

309

Kosuth, Joseph, ‘Art after Philosophy’ in Charles Harrison and Paul Wood (eds.), Art in Theory 1900-1990: An Anthology of Changing Ideas, (Oxford: Blackwell, 2000), pp. 840-850 Kuhn, Annette, ‘Tom Tom the Piper’s Son’ in Perspectives on British Avant-garde film’, (London: Hayward London, 1977), loose leaf Lachman, Gary ‘Kenneth Anger: The Crowned and Conquering Child’ in Magick Lantern Cycle: Kenneth Anger DVD, (London: BFI, 2009) Le Grice, Malcolm, ‘The History We Need’ in Dusinberre, Deke and Rees, A. L. (ed.), Film as Film: Formal Experiment in Film: 1910-1975, (London: Arts Council/Hayward, 1979), pp. 113-117 Le Grice, Malcolm, ‘A Reflection on the History of the London Film-makers Co-op’ in Michael Mazière (ed.), Light Years: A Twenty Year Celebration, (London: Arts Council, 1986), pp. 26-27 LeWitt, Sol, ‘Paragraphs on Conceptual Art’ in Charles Harrison and Paul Wood (eds.), Art in Theory 1900-1990: An Anthology of Changing Ideas, (Oxford: Blackwell, 2000), pp. 834-837 Mercer, Kobena, ‘Sexual Identities: Questions of Difference’, in Margaret Dickinson (ed.), Rogue Reels: Oppositional Film in Britain, 1945-90, (London: BFI, 1999), pp. 197-210 Miles, Barry, ‘The Naked Lunch in my Life’ in Oliver Harris and Ian Macfadyen (eds.), Naked Lunch @ 50: Anniversary Essays, (Illinois, Southern Illinois University Press, 2009), pp. 114-122 Monk, Claire, ‘Always Too Early’ in Separation DVD, (London: BFI, 2009), pp. 1-4 Morgan, Natasha, ‘Tina Keane: Shadow Woman’ in Rozsika Parker and Griselda Pollock (eds.), Framing Feminism: Art and the Women’s Movement 1970-1985, op. cit., pp. 287-288 Mulvey, Laura, ‘Film, Feminism and the Avant-Garde’ in Michael O’Pray (ed.), The British Avant-garde Film: 1926-1995: An Anthology of Writings, (Luton, University of Luton, 1996), pp. 199-216 Newman, Michael, ‘Moving Image in the Gallery Since the 1990s’ in Stuart Comer (ed.), Film and Video Art, (London: Tate, 2009), pp. 86-121; Nicolson, Annabel, ‘The Early Years of the Film Co-op’ in Jackie Hatfield and Stephen Littman (eds.), Experiments in Moving Image, (Luton: EpiGraph, 2004), pp. 12-19

310

Nicolson, Annabel, ‘Artists’ Statement’ in Deke Dusinberre and David Curtis (eds.), A Perspective on English Avant-garde Film, (London: Arts/British Council, 1978), pp. 73-74 O’Pray, Michael, ‘The Elusive Sign: From Asceticism to Aestheticism’, in ‘The Elusive Sign’, (London: Tate, 1987); pp.7-10 O’Pray, Michael, ‘Derek Jarman: ‘The Art of Films/Films of Art’ in Roger Wollen (ed.), Derek Jarman: A Portrait: Artist, Film-maker, Designer, (London: Thames and Hudson, 1996), pp. 65-75 Parker, Jayne, ‘Free Show’ in theFrame, Jayne Parker DVD, (London: BFI, 2005) Phillpot, Clive and Tarsia, Andrea ‘Introduction’ in Clive Phillpot and Andrea Tarsia (eds.), Live in Your Head: Concept and Experiment in Britain 1965-75, (London: Whitechapel, 2000), pp. pp. 6-7 Lis Rhodes, ‘Whose History?’ in Dusinberre, Deke and Rees, A. L. (ed.), Film as Film: Formal Experiment in Film: 1910-1975, (London: Arts Council/Hayward, 1979), pp. 119-120 Sillars, Stuart, ‘Is it possible for me to do nothing as my contribution?’ in Bart Moore-Gilbert (ed.), The Arts in the 1970s: Cultural Closure?, (London: Routledge, 1993), pp. 259-280 Smith, Ali, ‘The Margaret Tait Years’ in Peter Todd and Benjamin Cook (eds.), Subjects and Sequences: A Margaret Tait Reader, (London: LUX, 2004), pp. 7-27 Tait, Archie, ‘ICA: London – Decolonising the Unconscious’ in Rod Stoneman and Hilary Thompson (eds.), The New Social Function of Cinema: British Film Institute Productions Catalogue ‘79/’80, (London, BFI publishing, 1981) pp.72-75 Thew, Anna ‘Small Talk Between the Lines’ in Light Years: A Twenty Year Celebration, October 198, pp. 35-38 Todolí, Vicenti, ‘Foreword’ in Open Systems: Rethinking Art c. 1970, (London: Tate, 2005), pp.6 Rees, ‘A. L., ‘Locating the LFMC: the First Decade in Context’ in Shoot Shoot Shoot: The First Decade of the London Film-makers’ Co-operative and British Avant-garde Film 1966-76, (London: Lux, 2002), pp. 8 Rees, ‘A. L., Video and Argument from Design’, in Jackie Hatfield (ed.), Experiments in Moving Image exhibition catalogue, (Luton: Epigraph Publications, 2004); pp. 4 -5 Rees, A. L., ‘Foreword’ in Hatfield, Jackie (ed.), Experimental Film and Video: An Anthology, (Eastleigh: John Libbey Publishing, 2006). pp. x-xi

311

Rees, A. L., ‘Experimenting on Air: UK Artists’ Film on Television’ in Laura Mulvey and Jamie Sexton (eds.), Experimental British Television, (Manchester: Manchester University Press, 2007), pp.146-165 Rhodes, Lis, ‘Thoughts in Various Histories, 1978-2008: On the Possesive’ in Oberhausen Short Film Festival Catalogue 2008, (Oberhausen: Karl Maria Laufen, 2008), pp. 151-155 Rhodes, Lis and Sparrow, Felicity, ‘Imprisoned in Dependency or the Violence of Meaning’ in ‘Her Image Fades as Her Voice Rises’, (London, Arts Council Great Britain, 1983), no pages Rhodes, Lis, ‘Whose History?’ Dusinberre, Deke and Rees, A. L., Film as Film: Formal Experiment in Film: 1910-1975, (London: Arts Council/Hayward, 1979), pp. 193-197 Rodowick, D. N., ‘Theory and the Avant-garde’ in Danino, Nina and Mazière, Michael, (eds.), The Undercut Reader, Critical Writings on Artists’ Film and Video, (London: Wallflower Press, 2003), pp. 34-37 VanDerBeek, Stan, ‘Culture: Intercom’ and Expanded Cinema: A Proposal and Manifesto in Tanya Leighton (ed.), Art and the Moving Image, (London: Tate Publishing, 2008), pp. 72-74 Walkin, Janey, ‘Interview with Anne Rees-Mogg’ in Danino, Nina and Mazière, Michael (eds.), The Undercut Reader: Critical Writings on Artists’ Film and Video, (London: Wallflower Press, 2003), pp. 71-75 Walley, Jonathan, ‘An Interview with Anthony McCall’ in Eamon, Christopher (ed.), Anthony McCall: The Solid Light Films and Related Works, (Göttingen: Steidl Publishers, 2004); pp. 146-163 Walley, Jonathan, ‘Modes of Film Practice in the Avant-Garde’ in Tanya Leighton (ed.), Art and the Moving Image, (London: Tate Publishing, 2008), pp. 182-199 Watson, Gray, ‘An Archaeology of Soul’ in Roger Wollen (ed.), Derek Jarman: A Portrait, Artist, Film-maker, Designer, (London: Thames and Hudson, 1996, pp. 33-48 Webber, Mark, ‘Chronology of Events and Developments 1966-76’ in Mark Webber (ed.), Shoot Shoot Shoot: The First Decade of the London Film-makers’ Co-operative and British Avant-garde Film 1966-76, (London: Lux, 2002), p. 6-7 Wollen, Peter, ‘Alternative Sounds and Images’ in Between Imagination and Reality, (London: ICA, 1990), pp. 5-7 Wollen, Peter, ‘The Two Avant-gardes’, in Michael O’Pray (ed.), Avant-Garde Film 1926-1995: An Anthology of Writings, (Luton: University of Luton, 1996), pp. 133-143

312

Wollen, Roger, ‘Introduction: Facets of Derek Jarman’ in Roger Wollen (ed.), Derek Jarman: A Portrait, Artist, Film-maker, Designer, (London: Thames and Hudson, 1996), pp. 15-31 Zoller, Maxa, ‘Interview: Maxa Zoller with Malcolm Le Grice’ in X-Screen Catalogue, Museum Moderne Kunst Stiftung Ludwig (Wien: Walther König, 2003), pp. 136-147 Articles Arthur, Paul, ‘Structural Film: Revisions, New Versions, and the Artifact’, Millenium Film Journal, Vol. 1, No. 2, Spring/Summer 1978, pp. 5-13 Arthur, Paul S., ‘Structural Film: Revisions, New Versions And The Artifact: Part Two’ Millenium Film Journal, No 4/5, Summer/Fall 1979, pp. 122-134 Beckett, Andy, ‘What a Swell Party it Was’, The Independent, 2 June 1996 Bovenschein, Silvia, ‘Is There a Feminine Aesthetic?’ in New German Critique, 10, Winter 1977, pp. 111-137 Bruce, Tim, ‘Fred Drummond Come in from the Cold Film Co-op Feb 16th’, Readings, No. 2, March 1977, pp. 5. Buckell, Gareth, ‘Shoot Shoot Shoot: The LFMC and the Film Culture of Sixties Britain’ Filmwaves, 3, 2006, pp. 36-40 Child, Sarah, ‘Fred Drummond at the Co-op’, Annabel Nicolson, Readings, No. 2, March 1977, pp. 5 Comino, Jo, ‘Short Films: Place of Work’, Art and Artists, October 1983, Vol 50, No 597, pp. 284-287 Cottringer, Anne ‘On Peter Gidal’s Theory and Definition of Structural/Materilist Film’, Afterimage, No. 6, Summer 1976, pp. 86-95 Cronin, Paul, ‘The Ceremony of Innocence’, Sight and Sound, Vol. 17, Issue 3, March 2007, pp. 22-24 Curtis, David, ‘Artists’ Films’ in, Studio International, 193, 1977, pp. 24-25 Curtis, David, ‘Curating a Century of Artists’ Film in Britain’ Filmwaves, Issue 22, Summer/Autumn 2003; pp. 54 – 55 Danino, Nina, ‘A Century of Artists’ Film in Britain: A Response to the Curatorial Rationale’, Filmwaves, Issue 22, Summer/Autumn 2003, pp. 56-57 de Lauretis, Teresa, ‘Aesthetic and Feminist Theory: Rethinking Women’s Cinema’ in New German Critique, 34, Winter 1985, pp. 154-175 Dwoskin, Stephen, ‘Mare’s Tail’, Afterimage, 2, Autumn 1970, pp. 40-43

313

Dwoskin, Stephen, ‘A Little Bit of Then’, Filmwaves, Issue 24, Spring 2004, pp. 18-21 Du Cane, John, ‘Film and Video: The Third Part of Gallery House’s Survey of the Avant-Garde in Britain’, Time Out, 13-19 October 1972 Durgnat, Ray, ‘The London Film-maker’s Co-op’, International Times, Vol. 1, Issue 2, 1968, pp. 7 Dusinbere, Deke, ‘On Expanding Cinema’, Studio International, 190, July to November, 1975, pp. 220-224 Dusinberre, Deke, ‘Consistent Oxymoron’, Screen, Vol. 18, No. 2, Summer 1977, pp. 79-89 Dusinberre, Deke, ‘See Real Images!’, Afterimage, No 8/9, Winter 1980/1, pp. 87-107 Dusinberre, Deke, ‘Making the Avant-Grade’ [sic], Time Out, 1-7 June 1979, pp. 14-15 Dusinberre, Deke ‘Short Film Series’, Art and Artists, 50, October 1983, pp. 286-287 Ellis, John, ‘Production Board Policies’, Screen, Vol. 17, No. 4, Winter 1976/7, pp. 9 -23 Field, Simon and O’Pray, Michael, ‘Imagining October, Dr. Dee and Other Matters’, Afterimage, 12, Autumn 1985, pp. 40-58 Gidal, Peter, ‘Letter from Peter Gidal’, Afterimage, No. 7, Summer 1978, pp. 120-123 Godard, Jean-Luc, ‘What is to be done?’, Afterimage, No 1, April 1970. No page numbers. Heath, Stephen, ‘Afterword’, Screen, Vol. 20, No. 2, Summer 1979, pp. 93-99 Kaplan, E. Ann, ‘Aspects of British Feminist Film Theory: A Critical Evaluation of Texts by Claire Johnson and Pam Cook’, Jump Cut, 2, 1974, pp.52-55 Kent, Sarah, ‘Towards a Feminist Perception of Women’s Practise in Art at AIR Gallery 2th February’ in Annabel Nicolson and Paul Burrell (eds.), Readings, No. 2, 1977, p.11 Le Grice, Malcolm, ‘REALTIME/SPACE, Art and Artists, December, 1972, pp. 39-43 Le Grice, Malcolm, ‘Vision: The London Festival of Avant-garde Film’, Studio International, Vol. 186, No. 960, November 1973, pp. 188-189

314

Lippard, Lucy, ‘Why Separate Women’s Art?’, Art and Artists, Vol. 8, No. 7, October 1973, pp. 8-9 Mekas, Jonas, ‘Movie Journal’, The Village Voice, 27 September, 4 October, 11 October 1973, 18 October, 25 October 1973 Miller, Henry K., ‘The Slade School and Cinema: Part Two’, Vertigo, Vol. 3, No. 5, Spring 2007, pp. 65-67 Morgan, Natasha, ‘Shadow Woman’, Spare Rib, 1977, no. 675, pp. 26-27 Nicolson, Annabel, ‘Artist as Filmmaker’, Art and Artists, December, 1972, pp. 20-27 Nicolson, ‘Annabel, Canadada Fragments’, Art and Artists, Vol. 8, No. 1, April 1973, pp. 29-33 O’Pray, Michael, ‘Derek Jarman Filmography’, Afterimage, 12, Autumn 1985, pp. 16-21 O’Pray, Michael, ‘Derek Jarman’s Cinema: Eros and Thanatos’, Afterimage, 12, Autumn 1985, pp. 6-15 Rees, A. L., ‘Conditions of Illusionism’, Screen, 3/18, Autumn 1977; pp. 41-54 Le Grice, Malcolm, ‘Film’, Studio International, 193, 1977, pp. 4-6 Rayns, Tony, Reflected Light, Sight and Sound, 74, Winter 1973, pp. 16-19 Sparrow, Felicity, ‘A Century of Artists’ Film in Britain or the Hybrid Black Box’, Filmwaves, Issue 22, Summer/Autumn 2003, pp. 61-62 Spenser, Jeremy, ‘Jenny Okun’ in Annabel Nicolson (ed.), Readings, 2, 1977, pp. 4-5 Stern, Lesley, ‘Feminism and Cinema-Exchanges’, Screen, 20, Winter 1979/80, pp. 89-105 Thomas, Peter, ‘The Struggle for Funding: Sponsorship, Competition and Pacification’, Screen 47(4) 2006, pp. 461-467 Walley, Jonathan, ‘The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-garde Film’, October, 103, 2003, pp. 15-30 Willeman, Paul, Voyeurism, the Look and Dwoskin, Afterimage, 6, Summer 1976, pp. 40-50 Wilson, Siona, ‘From Women’s Work to the Umbilical Lens: Mary Kelly’s Early Films’, in Art History, 31/ 1, 2008, pp. 79-102 Wood, Jason, ‘Andi Engel’, Vertigo, Vol. 3, No. 4, Winter 2007, pp. 69

315

Unpublished PhD thesis or Research Projects Dupin, Christophe, The British Film Institute as a sponsor and producer of non-commercial film: a contextualised analysis of the origins, administration, policy and achievements of the BFI Experimental Film Fund (1952-1965) and Production Board (1966-1979), PhD thesis, (London: Birkbeck College, University of London, 2005) Dusinberre, Deke, The History of English Avant-Garde Film 1966-1974, MPhil thesis, (London: London University College, 1974) Maziere, Michael, Institutional Support for Artists’ Film and Video in England 1966-2003, (2003), 1-year fellowship for AHRB fellowship with Centre for British Film and Television Studies Mudie, Peter, Structural/Materialist Film at the London Film-makers’ Co-operative:1968-1980, PhD thesis, (University of Western Australia, 2001) Sonnet, Esther, The Politics of Representation: Modernism, Feminism, Postmodernism, (PhD thesis: University of Nottingham, 1993) Miscellaneous Sources BAFVSC Annabel Nicolson, ‘The Seventh Art’ (1993), Screening programme notes Annabel Nicolson, ‘New British Avant-garde Films Programme One’, Edinburgh Festival 1978, programme notes, 1978 filE Annabel Nicolson, David Miller, Paragraphs On Some Films by Annabel Nicolson Seen in March, 1973 Annabel Nicolson file, 28th Sept 1978 application for funding Annabel Nicolson, essay by Sotiris Kyriakou, ‘The Nowness of Everything’ exhibition, London: The Minories Gallery, November 1994 ‘A Survey of the Avant-garde in Britain: Lectures’, programme notes from exhibition, form year file Breakwell, Ian, application form for ‘A Festival of Expanded Cinema’, ICA, London, 1976. 1976 file Curtis, David, ‘The Economics of the Independent Film’, Cinema, 2, 1969, 1976 file Davis, Joanna, artists’ statement on video cover of Often During the Day, video ‘Diary Films at the Co-op’ were screened at the LFMC on 16, 17 and 23 March 1977. 1977 file East Midlands Arts, flyer for ‘The Expanding Cinema’ at Loughborough University, October 1977, 1977 file

316

East Midlands Arts, flyer for Film Study Weekend at Loughborough University, November 1979, 1979 file Film-makers on Tour, (London: Arts Council, 1976 and 1980) Hammond, Roger, ‘Structural/Materialist’ programme from Shoot Shoot Shoot: The First Decade of the London Film-makers’ Co-operative and British Avant-garde Film 1966-76, 2002, Video tape of rushes with Roger Hammond’s introduction to the film programme Jarman, Derek, letter to Ron Haseldon with application form for ‘A Festival of Expanded Cinema’, ICA, London, 1976. 1976 file Jonas Mekas, ‘Diaries, Notes and Sketches’ programme for ‘A Season of Diary Films: Hill, Mekas, Breakwell, McBride’’, ICA, March-April 1977. 1977 file Nicolson, Annabel, interview with David Curtis for ‘Shoot Shoot Shoot’ video rushes, I/V 1, 2001 Peter Sainsbury, ‘Production Board’ notes from 1976 file South West Arts, flyer for Independent Film and Sexual Politics at Falmouth School of Art, Set/Oct 1978, 1978 file ‘A Survey of the Avant-Garde in Britain’ at Gallery House programme notes, 1972 file Watson, Gray, programme notes for ‘London Super-8 Film Group’, screenings at the ICA on 1 and 2 October 1975. 1975 file BFI Special Collections Library Derek Jarman’s personal notebook, entry dated “30th March 1983 Phoenix House”. From page 15 of Box 23 in Derek Jarman collection Hyman Kreitman Reading Rooms, Tate Britain Rees, A. L., ‘No Psychodrama Please, We’re British’ my notes from audio recording of papers given at ‘Shoot Shoot Shoot’ symposium at Tate Gallery in May 2002 Sources from Filmmaker Annabel Nicolson , Interview between the artist and Max Eastley, (Per)formance and Performance with Dark Edges, 1978 Annabel Nicolson, escaping notice, edition of 500 artists’ books, (Yorkshire: Arc Press), 1977 Annabel Nicolson, ‘Hurst Castle’ in the Lymington Gazette, 15th September 1974, in artists’ book: escaping notice

317

Annabel Nicolson, Duncan White, transcript of ‘Expanded Cartography and the New Live Cinema’ seminar at Central St Martins on 20 May 2009 Electronic Sources ‘Camden Festival 1973, Festival of British Films’ http://www.studycollection.co.uk/filmaktion/Frameset30.html Curtis, David, Which History? Tate International Council Conference, London, 1 June, 2001 http://www.studycollection.co.uk/whichhistory.html Dee [sic], ‘Rising Above the Sixties’ (interview with Peter Whitehead) in Fringecore: A Journal of the Cultural Fringe, Issue 2, December 1997/January 1998 http://peterwhitehead.net/. Gidal, Peter, ‘Time Regained (Sort Of): A Century of Artists’ Film in Britain’, Tate Magazine, 6, 2003 http://www.tate.org.uk/magazine/issue6/timeregained.htm Guardian newspaper, Telegram sent to New York Film Co-op, October 1966 http://www.guardian.co.uk/film/2002/may/04/books.guardianreview1 Hadley, Nicky, ‘Anne Rees-Mogg: Conjuring Tricks’ http://www.luxonline.org.uk/artists/anne_rees-mogg/essay(3).html Hidden History, British Artists Film and Video Study Collection, http://www.studycollection.co.uk/hiddenhistorybfi.html Johnson, B. S. Fat Man on the Beach http://www.youtube.com/watch?v=jCyyHjkvji0&NR=1 Larcher, David http://www.quinzaine-realisateurs.com/directors/9503/David-LARCHER.html Mazière, Michael, Institutional Support for Artists’ Film and Video in England 1966-2003 http://www.studycollection.co.uk/maziere/paper.html Nicolson, Annabel ‘Jaded Vision’ http://www.luxonline.org.uk/artists/annabel_nicolson/jaded_vision.html Norton, ‘Louise, The Blind Man: The Richard Mutt Case’, The Blind Man, No 2, May 1917, pp. 5-6 http://sdrc.lib.uiowa.edu/dada/blindman/2/index.htm. Raban, William, ‘Expanded Cinema 1st-10th April’ http://www.luxonline.org.uk/articles/expanded_cinema(1).html

318

Raban, William, ‘Angles of Incidence’ http://www.luxonline.org.uk/artists/william_raban/angles_of_incidence.html Rees, A. L., ‘Video and the Argument from Design’ www.rewind.ac.uk/rewind/index.php Rees, A. L., ‘Stephen Dwoskin’ http://www.luxonline.org.uk/artists/stephen_dwoskin/essay(2).html Reynolds, Lucy, ‘Filmaktion at Walker Art Gallery’, http://www.studycollection.co.uk/filmaktion/Frameset13.html Rohdie, Sam, ‘Metz and Film semiotics: Opening the Field’, Jump Cut: A Review of Contemporary Media, 2004 www.ejumpcut.org/archive/onlinessays/JCO7folder/Metz.html. Sparrow, Felicity, ‘Light Illusions: Artists and Cinema; Filmmakers and Galleries’, Vertigo, Vol 1, No. 2, Spring 2001 http://www.vertigomagazine.co.uk/showarticle.php?sel=bac&siz=1&id=180 Sparrow, Felicity, ‘Annabel Nicolson: The Art of Light and Shadow’ www.luxonline.org.uk/artists/annabel_nicolson/essay(5).html Sperlinger, Mike, ‘Ian Breakwell’ http://www.luxonline.org.uk/artists/ian_breakwell/essay(1).html Tate Gallery http://www.tate.org.uk/collections/newacquisitions.html Thomas, Peter , ‘The Struggle for Funding: Sponsorship, Competition and Pacification’ http://alt-fv-distribution.net/Struggle%20for%20Funding.pdf, Vishmidt, Marina, ‘Jeanette Iljon’ on luxonline www.luxonline.org.uk/artists/jeanette_iljon/essay(3).html von Doesburg, Theo and Lawder, Standish, ‘Film as Pure Form’ in Form, Summer 1966 http://isites.harvard.edu/fs/docs/icb.topic235120.files/vanDoesbergFilmForm.pdf Wadley, Nick, ‘Anne Rees Mogg’ http://www.luxonline.org.uk/artists/anne_rees-mogg/sentimental_journey.html, Whitehead, Peter Interview http://s120937152.websitehome.co.uk/pw/html/interviewentropy.html Wilson, Siona, ‘Women’s Work to the Umbilical Lens: Mary Kelly’s Early Film Work’ http://www3.interscience.wiley.com/cgi-bin/fulltext/119398841/HTMLSTART

319

Filmography

British Kenneth Anger Invocation to my Demon Brother (1969)

Kenneth Anger Lucifer Rising (1981)

Kenneth Anger Invocation to my Demon Brother (1969)

Jane Arden The Other Side of Underneath (1972)

Jane Arden Vibration (1975)

Jane Arden Anti-Clock (1979)

John Blake Arrest (1970)

The Berwick Street Collective Nightcleaners (1975)

Derek Boshier Link (1970)

Ian Breakwell The Artist’s Dream (1976)

Ian Breakwell Growth (1976)

Ian Breakwell, Nine Jokes (1971)

Ian Breakwell Repertory (1973)

Ian Breakwell Continuous Diary (1977)

Ian Breakwell The Institution (1978)

Ian Breakwell The Journey (1975)

Stuart Brisley Arbeit Macht Frei (1973)

William Burroughs (with Anthony Balch Brion Gysin) Towers Open Fire (1962-3)

William Burroughs (with Anthony Balch Brion Gysin) Cut-ups (1967)

William Burroughs (with Anthony Balch Brion Gysin) Bill and Tony (aka: Who’s

Who) (1972)

Helen Chadwick Domestic Sanitation, Bargain Bedroom Bonanza and Latex Glamour

Rodeo (1976)

Susan Clayton and Jonathan Curling The Song of the Shirt (1979)

David Crosswaite Film No1 (1971)

Joanna Davis Often During the Day (1979)

Fred Drummond Photo Film (1967)

Fred Drummond Kurt Kren Portrait (1976)

John Du Cane Relations (1974)

John Du Cane Zoomlapse (1975)

Mike Duckworth Body Arcs (1973)

320

Mike Dunford Still Life With Pear (1974)

Stephen Dwoskin Alone (1963)

Stephen Dwoskin Dirty (1965)

Stephen Dwoskin Moment (1970)

Stephen Dwoskin Central Bazaar (1975)

Stephen Dwoskin Laboured Party (1974)

John Du Cane Zoomlapse (1975)

David Dye Screen (1971)

David Dye Two Cameras (1971)

David Dye Film onto Film (1972)

David Dye Unsigning for 8 Projectors (1972)

Gill Eatherley Hand Grenade (1971)

Gill Eatherley Light Occupations: Aperture Sweep (1973)

Steve Farrer The Machine (1978-88)

Steve Farrer Ten Drawings (1976)

Steve Farrer Silk Screen Films (1974)

Peter Gidal 8mm Notes on 16mm Film (1971)

Peter Gidal Room Film 1973 (1973)

Peter Gidal’s Silent Partner (1978)

Peter Gidal Takes (1970)

Peter Gidal Clouds (1969)

Peter Gidal Room Film, Double Take (1967)

Peter Greenaway Water Wrackets (1975)

Peter Greenaway Vertical Features Remake (1978)

Peter Greenaway A Walk Through H (1978)

Peter Greenaway Water Wrackets (1975)

David Hall Vertical (1969)

Marilyn Halford Footsteps (1974)

Marilyn Halford and William Raban Time Stepping (1974)

Marilyn Halford Hands Knees and Boompsa Daisy (1973)

Marilyn Halford Footsteps (1974)

Nicky Hamlyn Guesswork (1979)

David Hall’s Vertical (1969/70)

Roger Hammond Window Box (1972)

321

Ron Haseldon Tracking Cycles (1975)

Ron Haseldon MFV Maureen (1975)

Martin Hearn Central Figure (1976)

Martin Hearn Figure Spiral (1978)

Tony Hill Untitled (1971)

Tony Hill Floor Film (1975)

Tony Hill 2nd Floor Film (1972)

Tony Hill Point Source (1973)

John Hilliard From and To (1971)

Jeanette Iljon Mantra (1976)

Derek Jarman Miss Gaby (1972)

Derek Jarman Stolen Apples for Karen Blixen (1973)

Derek Jarman Ulla’s Fete (1976)

Derek Jarman A Journey to Avebury (1971)

Derek Jarman Garden of Luxor (1972)

Derek Jarman The Art of Mirrors (1973)

Derek Jarman Diary Reel 3: Fragments 1971-74

Derek Jarman The Kingdom of Outremer (1972-74)

Derek Jarman Jordan’s Dance (1977)

Derek Jarman The Art of Mirrors (1973)

Derek Jarman In the Shadow of the Sun (1974-81)

Derek Jarman The Art of Mirrors (1976)

Derek Jarman Blue (1993)

B. S. Johnson Fat Man on the Beach (1974)

B. S. Johnson Human Like the Rest of Them (1967)

B. S. Johnson Up Yours Too, Guillaume Apollinaire (1968)

B. S. Johnson Paradigm (1969)

B. S. Johnson Unfair (1970)

B. S. Johnson March! (1971)

Tina Keane Shadow of a Journey (1980)

Tina Keane Shadow Woman (1977)

Jeff Keen Final Appearance (1976)

Jeff Keen White Lite (1968)

Jeff Keen Meatdaze (1968)

322

Jeff Keen Marvo Movie (1968)

Jeff Keen Mad Love (1978)

Jeff Keen White Dust (1972)

Jeff Keen RayDay (dated as 1968-70 and 1976)

Mary Kelly Antepartum (1973)

Bruce Lacey How to Have a Bath (1971)

David Larcher Mare’s Tail (1969) and

David Larcher Monkey’s Birthday (1975)

Mike Leggett Sheepman and the Sheared (1976)

Mike Leggett Shepherd’s Bush (1971)

Malcolm Le Grice Castle 1 (1966)

Malcolm Le Grice Yes No Maybe Maybe Not (1967)

Malcolm Le Grice Little Dog for Roger (1968)

Malcolm Le Grice Berlin Horse (1970)

Malcolm Le Grice White Field Duration (1973)

Malcolm Le Grice After Manet (1973)

Malcolm Le Grice Emily – Third Party Speculation (1978)

Malcolm Le Grice After Lumière – Arroseur Arosé (1974)

Malcolm Le Grice Time and Motion Study (1976)

Malcolm Le Grice Whitchurch Down (Duration) (1972)

Malcolm Le Grice Horror Film (1971)

Malcolm Le Grice Matrix (1973)

Malcolm Le Grice Academic Still Life (1976)

Mike Leggett Shepherds Bush (1971)

London Women’s Film Group Whose Choice? (1976)

London Women’s Film Group Women of the Ronda (1973)

Richard Long Walking a Straight 10 Mile Line Forward and Back Shooting Every

Half Mile (Dartmoor, England, January, 1969) (1969)

Michael Mazière Untitled (1980)

Anthony McCall Landscape for White Squares (1972)

Anthony McCall Landscape for Fire (1972)

Anthony McCall 16mm Film in Three Parts from Two Points (1973)

Anthony McCall Line Describing a Cone (1973)

Anthony McCall Long Film for Ambient Light (1975)

323

Anthony McCall Sigmund Freud’s Dora (1979)

Barbara Meter From the Exterior (1974)

Will Milne Christ of Feathers (1976)

Laura Mulvey and Peter Wollen Riddles of the Sphinx (1977)

Annabel Nicolson Reel Time (1973)

Annabel Nicolson Sky for the Bird of the Roof of my Mind (1973)

Annabel Nicolson Reel Time (1973)

Annabel Nicolson Precarious Vision (1973)

Annabel Nicolson Shapes (1970)

Annabel Nicolson Slides (1971)

Annabel Nicolson Matches (1975)

Annabel Nicolson Sky for the Bird on the Roof of my Mind (1973)

Annabel Nicolson Jaded Vision (1973)

Jenny Okun Still Life (1976)

Jenny Okun Still Life (1976)

Yoko Ono Apotheosis (1970)

Jayne Parker Free Show (1979)

Jayne Parker RX Recipe (1980)

Chris Petit Radio On (1979)

Sally Potter Thriller (1979)

Stuart Pound Film Without (1976)

Stuart Pound Clocktime (1972)

William Raban 2’45” (1972)

William Raban Angles of Incidence (1973)

William Raban and Chris Welsby River Yar (1971-72)

Anne Rees-Mogg Muybridge Film (1973)

Anne Rees-Mogg Real Time (1971-74),

Anne Rees-Mogg Sentimental Journey (1977)

Anne Rees-Mogg Living Memory (1980)

Lis Rhodes Dresdon Dynamo (1974)

Lis Rhodes Amenuensis (1973)

Lis Rhodes Light Reading (1978)

Lis Rhodes Light Music (1975)

Carolee Schneemann Plumbline (1972)

324

Carolee Schneemann Fuses (1964-67)

James Scott Richard Hamilton (1969)

Guy Sherwin At the Academy (1974)

Guy Sherwin Optical Sound Films (1971-2007)

Guy Sherwin Short Film Series (1975-1998)

Guy Sherwin Breathing (1978)

Guy Sherwin Cycles (1972/77)

Tony Sinden Size M (1970)

Tony Sinden Arcade (1970)

John Smith Girl Chewing Gum (1976)

John Smith Associations (1975)

Susan Stein G (1979)

Margaret Tait Painted Eightsome (1970)

Margaret Tait Aerial (1974)

Margaret Tait Colour Poems (1974)

Margaret Tait Aerial (1974)

Margaret Tait Tailpiece (1975)

Margaret Tait Place of Work (1975)

Anna Thew Lost for Words (1980)

Ellie Trip Trapline (1977)

Chris Welsby Windmill II (1973)

Chris Welsby Streamline (1976)

Chris Welsby Shoreline (1977)

Chris Welsby Seven Days (1974)

Peter Whitehead Daddy (1973)

Peter Whitehead Fire in the Water (1977)

Richard Wooley Brothers and Sisters (1980)

American/European Chantal Akerman Jeanne Dielman, 23 Quai du Commerce – 1080 Bruxelles (1975)

Kenneth Anger Fireworks (1947)

Stan Brakhage Dog Star Man (1964)

Stan Brakhage Desistfilm (1954)

325

Stan Brakhage Wedlock House: An Intercourse (1959)

Stan Brakhage Window Water Baby Moving (1959)

Stan Brakhage Mothlight (1965)

Stan Brakhage The Text of Light (1974)

John Cassavettas Shadows (1959)

Tony Conrad The Flicker (1966)

Maya Deren Meshes of the Afternoon (1943)

Maya Deren At Land (1944)

Maya Deren Ritual in Transfigured Time (1946)

Robert Frank and Alfred Leslie Pull My Daisy (1959)

Birgit and Wilhelm Hein Roh Film (1968)

Ken Jacobs Star Spangled to Death (1957-59)

Ken Jacobs Blonde Cobra (1963)

Ken Jacobs Little Stabs at Happiness (1959-63)

Kurt Kren 3/60 – Baüme im Herbst (1960)

Peter Kubelka Arnulf Rainer (1958-60)

Peter Kubelka Adebar (1957)

Peter Kubelka Schwechater (1958)

George Landow Film In Which There Appear Sprocket Holes, Edge Lettering, Dust

Particles, etc, (1966)

Fernand Léger Ballet Méchanique (1924)

George Maciunas Flux Film No 7: Ten Feet (1966)

László Moholy-Nagy Light Play: Black, White Grey (1930)

Nam June Paik Zen for Film (1964)

Paul Sharits Piece Mandala (1966)

Michael Snow Wavelength (1967)

Jack Smith Flaming Creatures (1963)

Ron Rice The Flower Thief (1960)

Andy Warhol Sleep (1963)

Andy Warhol Empire (1964)