Once again we begin the month with run a of experimental and artists' film screenings, beginning with the Festival of (In)appropriation – a touring programme that explores the rich vein of artists' moving image that has developed due to the the prevalence of public and private media archives in our media saturated age. Later this month Shama Khanna curates a programme for Warehouse presenting a selection of artists' films exploring the inherent darkness of cinema, Unclean Pictures presents a selection of videos from the archive of Thee Temple of Psychick Youth followed by discussion with original members of the notorious "anti-cult", and finally Gwendoline Leick presents a reading from her book Things as they Were: Gertrude Stein, my Grandmother and their Lover, followed by a 16mm screening of Perry Miller Adato’s biographical documentary Gertrude Stein: When This You See, Remember Me.
For our core programmes this month we continue our On the Road season - presenting a selection of films that explore life on the open road, taking in a wide array of American and European fiction features alongside a scattering of experimental works, produced between 1950 and 2016. We've worked hard to track down prints wherever possible and this month's selection includes Ida Lupino's The Hitch-hiker, Peter Bogdanovich's Paper Moon, Duncan Tucker's Transamerica, Wim Wenders Paris, Texas, Chris Petit's Radio On, and Dennis Hopper's Easy Rider all on 35mm, alongside digital projection of rarely screened films including Robert Kramer's epic Route One/USA and Sophie Calle's Double Blind.
Marking the second anniversary of our cinema we're pleased to present a repeat of our Close-Up on John Cassavetes programme, which presents a cross section of the influential director's oeuvre on 35mm prints - representing his self-financed works made outside of the studio system of Hollywood. Finally, straddling our two core programmes we're also thrilled to announce screenings of James Benning's Easy Rider and Faces in double bills with the original films.
As always, advance booking is strongly recommended for all of these screenings.
1 - 30 July 2017
On the Road
Close-Up presents the second part of our two-month programme exploring the road as a state of mind within late 20th Century American and European independent cinema. This season features a diverse selection of films made between 1950 and 2017, including works by Ida Lupino, Jean-Luc Godard, Dennis Hopper, Larry Gottheim & Shelley Berde, Monte Hellman, Peter Bogdanovich, Wim Wenders, Werner Herzog, Chris Petit, Kurt Kren, Aki Kaurismäki, Robert Kramer, Sophie Calle & Greg Shephard, Duncan Tucker, James Benning and Arthur Summereder.
2 July 2017
Festival of (In)apropriation
Founded in 2009 and curated by Jaimie Baron, Lauren Berliner, and Greg Cohen, the Festival of (In)appropriation is a yearly showcase of contemporary, short (20 minutes or less), audiovisual works that appropriate existing film, video, or other media and repurpose it in “inappropriate” and inventive ways. This year’s programme features an astonishing variety and complexity of moving-image appropriation art, including a riotous YouTube reaction video mash-up, an exquisite found-footage ready-made, a queer-Asian-American homage to Hollis Frampton, several sublime works of cut-out animation, and a pseudo-documentary (or is it?) about the lost work of an early-Soviet scientist dedicated to the exploration of “human mental projection.”
3 - 29 July 2017
Close-Up on John Cassavetes
To mark the second anniversary of our cinema we revisit our opening programme, presenting six films by John Cassavetes on 35mm. Often hailed as the father of American independent film, John Cassavetes's maverick approach to filmmaking captured some of the most honest and genuinely moving portrayals of human emotion ever committed to film. The films included in this season represent his self-financed works made outside of the studio system of Hollywood, for which he was afforded complete control. Populated by beatniks, hippies, businessmen, actors, housewives, strippers, club owners, gangsters and children, the films are beautiful, emotional testaments to compassion.
4 July 2017
Non-linear / Dark Cinema
Shama Khanna and Warehouse present a programme exploring darkness in the cinema, featuring works by Charlotte Prodger, Dan Walwin, James Richards and Leslie Thornton, Ulijona Odišarija and Alia Syed. “All of the works have literal darkness in them - what does this kind of seeing in the dark permit? Other references assimilate darkness: subterranean and submerged (beneath the liquid screen?) post-human visions transmitted via inverted and black and white imaging; chiaroscuro and carefully lit performance; mirroring and enfolded, intimate narratives. Here artificial darkness is privileged over scenes filmed in daylight, which come as a shock or aberration.” – Shama Khanna
8 July 2017
Conceived in the aftermath of the punk and industrial countercultures, Thee Temple ov Psychick Youth (TOPY) was an "anti-cult" that drew on the tenets of provocation, transgression, and the DIY ethos to form an internationally reaching network bound together by an esoteric sensibility. TOPY strove to transcend the normative constructs of culture, sexuality, order, and reason, examine and undermine systems of power, and reach ecstatic states of being. Ritual Cuttings is a one night only event of Psychick Television Transmissions, featuring rare archival films, interviews, music videos, and television programs related to Thee Temple ov Psychick Youth, sourced by the documentary filmmaking team of A Message From The Temple. The evening will conclude with a discussion with TOPY members, moderated by filmmakers Jacqueline Castel, Mark Pilkington, and Aldona Watts with a reception to follow.
13 July 2017
Gwendolyn Leick: Things as they Were
Gwendolyn Leick presents a reading from her book Things as they Were: Gertrude Stein, my Grandmother and their Lover, followed by a 16mm screening of Perry Miller Adato’s biographical documentary Gertrude Stein: When This You See, Remember Me. In her book Gwendolyn Leick examines the things as they were between the three women after they went their separate ways until they died. The method of writing lays out the things, the notions and ideas, the people (friends, relatives, lovers, husbands), in the form of associative "entries" based on Gertrude Stein’s texts as much as on private letters, photographs and other found objects. It is an encyclopaedic enterprise, rather than a chronologically ordered biographical account, and the character and the fates of the three women can be only glimpsed through the kaleidoscope of these vignettes.