English collective cinema. Session II
Focus29.10.2319:00 h Zumzeig Cinecooperatiu 8€
The second part of the journey through British film collectives continues with the short film, “That’s No Lady” (1977), an impactful, acid piece from the collective, Sheffield Film Co-op, which takes a closer look at the participatory and associative practices that were being developed from second-wave feminism. The cooperative was a pioneer in collaborative and consensual ways of working; sharing skills, responsibilities and resources to produce films that mixed fiction, drama and documentary in order to show the reality of the daily life of women.
Known for their work on anti-colonial resistance, for their reimagining of the realist documentary style and their commitment to the experience of the Black and Asian diaspora, Black Audio Film Collective opens the second block of this section, with its epistolary work, “Twilight City” (1989). The collective firmly believed in their work being horizontal and evenly distributed, both between the collective’s members and between the members and their audiences, with the aim of creating a collective and shared culture of Black cinema. They functioned as an artistic workshop which radically questioned the European vanguard’s treatment of other racial groups and the activism of Third Cinema.
Finally, this journey ends with “Otolith III” (2009), by The Otolith Group, which was formed as an artistic collective and based on a historical, theoretical awareness of the United Kingdom’s collective film praxis. The Otolith Group brings together theory, artistic practice and curation to explore temporary anomalies and artificial intelligence through science fiction and the representation of post-cinematic Blackness.
And so, the aim of this journey is to offer a non-exhaustive glance at the different ways of forming collectives and the way in which they mutate within one, common territory over the years.
Known for their work on anti-colonial resistance, for their reimagining of the realist documentary style and their commitment to the experience of the Black and Asian diaspora, Black Audio Film Collective opens the second block of this section, with its epistolary work, “Twilight City” (1989). The collective firmly believed in their work being horizontal and evenly distributed, both between the collective’s members and between the members and their audiences, with the aim of creating a collective and shared culture of Black cinema. They functioned as an artistic workshop which radically questioned the European vanguard’s treatment of other racial groups and the activism of Third Cinema.
Finally, this journey ends with “Otolith III” (2009), by The Otolith Group, which was formed as an artistic collective and based on a historical, theoretical awareness of the United Kingdom’s collective film praxis. The Otolith Group brings together theory, artistic practice and curation to explore temporary anomalies and artificial intelligence through science fiction and the representation of post-cinematic Blackness.
And so, the aim of this journey is to offer a non-exhaustive glance at the different ways of forming collectives and the way in which they mutate within one, common territory over the years.