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Shoot Shoot Shoot - Mark Webber
Mark Webber
Shoot Shoot Shoot
Le Grice built the Co-op's first processor in his garage in 1967.

With this equipment he was able to explore an aspect of filmmaking that was usually hidden in commercial laboratories. By the time the LFMC moved to the Dairy, the workshop provided almost unlimited access to hands-on printing and processing. Within this supportive environment, artists were free to experiment and engage directly with the filmstrips in an artisan manner.

The camera was no longer the most important piece of equipment. Films evolved from techniques of developing and printing, and the different ways that images can be created or manipulated. It could mean working directly on the film with letraset or paint, pulling film (or other material) through the printer, re-photographing the image during projection or using the printer as a tool to build up layers of imagery through superimposition.

Films produced at the LFMC had more in common with art history than the history of cinema. Many of these artists turned to film because they found it the most suitable medium in which to express their ideas. They were attracted by its tactility, temporal qualities and the element of duration. The majority of the films were 'about' the physical nature of the film material. The medium and the process dictated the form and content of the final work.

See Slides (Annabel Nicolson) Dresden Dynamo (Lis Rhodes) At The Academy (Guy Sherwin)

Still from Dresden Dynamo by Lis Rhodes, 1971-74
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