Curated by Mark Webber with assistance from Gregory Kurcewicz and Ben Cook. A Lux Project. Notes taken from programme catalogue; full details available from Box Office. www.lfmc.org The first decade of the London Film-Makers’ Co-operative and British Avant Garde Film 1966-76 A major retrospective touring programme featuring 8 programmes of rarely seen films, including multi-screen and expanded cinema from the archives of the London Film-Makers’ Co-op (LFMC), SHOOT SHOOT SHOOT premiered at Tate Modern where its screenings and events re-established the importance of these pioneering filmmakers whose work deserves acknowledgement as influence for and predecessor to today’s ‘artist’s film and video’. Works by British-based artist filmmakers such as Malcolm Le Grice, Peter Gidal, John Latham, Steve Dwoskin, Anthony McCall, Lis Rhodes, Sally Potter, John Smith, William Raban and Chris Welsby are presented in the Galleries and Cinemas. Gallery events tickets: £3.50 Gallery 3 Fri 9 May, 6.00pm THE EPIC FLIGHT Total running time: approx 2hrs 23m An extended personal odyssey which, through an accumulation of visual information, builds into a treatise on the experience of seeing. Its loose, indefinable structure explores new possibilities for perception and narrative. Featuring a psychedelic “trip” of a film by David Larcher. Gallery 3 Thu 8 May, 6.00pm EXPANDED CINEMA Total running time: approx 3 hrs British filmmakers led a drive beyond the screen and the theatre and their innovations in expanded cinema inevitably took the work into galleries. After questioning the role of the spectator, they began to examine the light beam, its volume and presence in the room. Featuring Guy Sherwin’ s live performance of Man With Mirror. Includes work by: Malcolm Le Grice, William Raban, Gill Eatherley, Lis Rhodes and Anthony McCall. Gallery 3 Sat 10 May, 6.00pm DOUBLE SCREEN FILMS Total running time: approx 2hrs Widening the visual field increased the opportunity for both spectacle and contemplation. With two 16mm projectors side-by-side, time could be more complexly frozen or fractured by playing one image against another and creating a magical space between them. Each screening became a unique event, accentuating the temporality of the cinematic experience.