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The Shilluk of Southern Sudan

This film presents a compelling visual and aural analysis of Shilluk kingship in 1975, and provides a very useful complement to Evans-Pritchard’s 1948 text, The Divine Kingship of the Shilluk. Although the Reth (king) has been reduced to the status of second-class magistrate in dispute settlement by the Sundanese government, he is still the focus of political and national identity for a Shilluk people composed of competing territorial groupings. At the death of the Reth, his spirit passes into the Nile.

The Shilluk of Southern Sudan

NR 1976
Football Freaks

Football crazy, football mad. Don’t watch this off-beat jukebox cartoon expecting any conventional soccer action. Equal parts Disney, Dali and Duchamp, this abstract mix of black and white photos and alternative comix style animation is accompanied by a medley of doo-wop classics and documentary soundbites. The film is certainly an extreme departure for those familiar with the more conventional output of the Halas & Batchelor studio, best known for their feature-length version of George Orwell’s Animal Farm (1954). Paul Vester was one of a number of sixties art school graduates that brought a mix of pop art and illustration influences to the company whilst it was undergoing a brief change in its ownership. As a warning, in keeping with its progressive, adult style there is some brief nudity at the end of the film.

Football Freaks

NR 1971
Kinetics

Art in glorious motion. Bright, colourful and often intensely dynamic, the 1970 'Kinetics' show at London's Hayward Gallery was a major international showcase of the new active sculptural art. Works by Jean Tinguely, Nam June Paik, Peter Logan, Takis, Jesus Raphael Soto and many others dazzled a wide-eyed public. This priceless film record of the show captures a kaleidoscope of neon lights, rotating metal, squirting water and stroboscopic projections. Director Lutz Becker, of the Slade School of Art Film Unit - who would go on to direct Double-Headed Eagle (1973), a documentary account of Hitler's rise to power - uses a variety of textural, electronic sounds (courtesy of Peter Sahla) to evoke the unusual experience. The show was enormously popular, with visitors filling out the gallery day after day.

Kinetics

NR 1972
Film Print

The film deals with levels of reproduction. The repetitious camera movements over successive photographs are intended to function as distancing devices relatable to mechanical repetitions such as film loops. The 'subject' of the film is the material operation or, rather, it is a film in its own right and an explication of the mechanisms and technique inherent in its making. It is not a documentary of those mechanisms and techniques. Film as anonymous production, wherein (exhaustively) certain techniques are utilized, does combat with film that represents the (absent) subject, the filmmaker (forever repressed ever-present, ever-represented). Film as presentation, not re-presentation.

Film Print

NR 1974
The Breath of Sheep

In Düsseldorf-based filmmaker Lutz Mommartz’s Das Atem des Schafes (The Breath of the Sheep, 1970) we see Scotland as an outsider. Recorded on a trip to the Highlands ahead of his participation in Strategy: Get Arts – a landmark exhibition at Edinburgh College of Art – Mommartz’s 8mm film testifies to the Scottish imaginary that preceded self-representation. Mist-wrapped mountains and a maggot-infested sheep carcass are soundtracked by stretched-out psychedelia, encoding this as a place of wildness." - Marcus Jack 8mm - b/w

The Breath of Sheep

NR 1970
Double Pisces, Scorpio Rising

One of the human trio is Dick Fontaine, the director, a thin, long-haired youth who has put together this highly personal exercise on something or other that runs, mercifully, for 58 minutes and comes from an English group of movie folk called the Tattooists. The second visitor to the animal abattoir is a pretty girl. The third is a porky, middle-aged man addicted to the expression, "Ya know?" The two men carry on a running argument about whether they should make a picture about pigs. "Are we making a movie, ya know?" says Fatso. "Where is it, ya know?" Then a bit later: "I'm making a movie about pigs, ya know?"

Double Pisces, Scorpio Rising

NR 1970
Divide and Rule - Never!

This punk-infused documentary by the Newsreel Collective invites young working class Londoners to discuss their experiences of racism. First and second generation Black and Asian immigrants, as well as ex-National Front members, paint a detailed picture of discrimination in 1970s Britain. The film uses lo-fi animation, archive footage and a pulsating soundtrack to compare racial inequality in London to Britain's colonial 'divide and rule' policy, European fascism and the rise of Nazi Germany.

Divide and Rule - Never!

NR 1978
The London Rock and Roll Show

Filmed record of a major rock and roll festival held at Wembley Stadium, London, in August 1972. London Rock and Roll Show begins with excerpts from numerous "warm-up" performers shown singing either covers of 1950s hits, or original tunes, including a performance by Screaming Lord Sutch that threatens to end the concert prematurely when he brings a stripper on stage. The main concert segment begins with Bo Diddley and continues with a string of other major performers including Jerry Lee Lewis, Little Richard, and Bill Haley and His Comets. The concert ends with an extended performance by Chuck Berry, who at the time was enjoying major chart success in Britain and the US with his "My Ding-a-Ling" (although he does not perform that song in this film). Mick Jagger also appears in several non-musical interludes in which he is interviewed about the performers.

The London Rock and Roll Show

9.0 1973