Screening presented by Miles McKane to launch Light Cone’s 40th anniversary celebrations**
Light Cone was officially created on February 3rd, 1982. Forty years later to the day, we have invited Miles McKane, the cooperative’s co-founder (with yann beauvais), to animate Scratch Projection as a way to celebrate the past four decades of distributing and advocating for experimental cinema. In this program, Miles McKane travels back to the early days of Light Cone, reflects on the radical aesthetic and political visions that shaped its collection and traces a collective history in perpetual evolution.
“Light Cone was created at a moment of political rupture in French society, less than a year after the victory of the PS and the election of a socialist president; it celebrates its 40th birthday only months before another legislative and presidential election. Far from the explosion of the creative and cultural openings that occurred in the early '80s, the perspectives for the second decade of the new millennium are somewhat grimmer. Another rupture to the system is ‘en marche’.
Light Cone began with the atypical posture of considering experimental film as a multifaceted art form, which had an international historical base encompassing different thematic, aesthetic and social concerns. Many films and filmmakers pushed the boundaries of the medium to express their visions of personal and socio-political posture, whether through extreme visual experiments or a poetical perspective; the filmic medium could become both pamphlet and poem, whose significance reflected the contemporary world in which they lived.
In composing this program, using films that are radical both in their form and in their content, I wanted to explore how the collection related to and reflects the shifting political landscape of these past forty years. I also wanted to underscore my relation and vision of what the collection contains and how I could make sense of it and contemporary society today. What issues were current when Light Cone was founded and have permeated its history over the years and the films which it defends?
The collection is organic in its structure, it grows and expands, but not in a linear way; not merely moving towards the newest works but exploring and rediscovering works from the past and from the margins of history, pioneers who were overlooked or misunderstood. Consequently, works dating from decades ago can arrive at the same moment as the latest digital work; they have different technological and aesthetic references but belong to the same common history and family of experimental filmmaking. While films and filmmakers make up its visible element, since its beginnings, Light Cone also continues to form partnerships and alliances with other organizations and institutions. These relationships have nourished Light Cone and Scratch, and have been supportive on many levels, helping it to enrich its collection, strengthen its reputation and create intellectual and theoretical exchanges.
While most of the works in this program are held in the collection, two come from other sources: LUX, previously the London Filmmakers Co-op, and the Archives du Film Expérimental d'Avignon (AFEA). Both these organizations were important in the history of Light Cone. All films in the program are intemporal and universal; they contain something significant to the contemporary condition and also highlight a particular moment or situation related to Light Cone’s collection and history. For example, Barbara Hammer’s film I WAS/I AM pinpoints a moment of decision, a moment of affirmation of self, a defiance to the world to see her as she desires to be seen, and I see in this act and attitude something that mirrors the foundation of Light Cone.”
— Miles McKane
The 16mm print of Ivan Ladislav Galeta's TWO TIMES IN ONE SPACE is shown with the kind permission of the Archives du Film Expérimental d'Avignon (AFEA).
* Walter Benjamin, On the Concept of History IX, 1968, Schocken Books, New York (trans. Harry Zohn).
** Light Cone will celebrate its 40th anniversary with numerous guest programs, screenings, performances, discussions and festivities that will take place throughout 2022. The core of these events will take place from Monday, June 13th, to Sunday, June 19th, 2022, in Paris. The program will be announced soon on this website.
I WAS/I AM
by Barbara HAMMER
1973 / 16mm / b&w / sound / 6' 30
BLACK AND WHITE TRYPPS NUMBER THREE
by Ben RUSSELL
2007 / 35mm / color / sound / 11' 30
TWO TIMES IN ONE SPACE
by Ivan Ladislav GALETA
1976-1984 / 16mm / b&w / sound / 12' 00
Le dernier film
by Maurice LEMAÎTRE
1978 / 16mm / b&w / silent / 3' 00
by Yann BEAUVAIS
1985-1986 / 16mm / color-b&w / sound / 7' 00 / double écran
by Gisèle RAPP-MEICHLER
2001 / DCP / color / sound / 8' 00
1985 / 16mm / color / sound / 5' 00
by Jules ENGEL
1971-1978 / 16mm / color / sound / 4' 00
by COLECTIVO LOS INGRÁVIDOS
2019 / DCP / b&w / sound / 1' 35
by Franciszka THEMERSON & Stefan THEMERSON
1931 / DCP / b&w / sound / 12' 00
by John SMITH
2020 / DCP / color / sound / 2' 32
Luminor Hôtel de Ville
20 rue du Temple
|metro||Hôtel de Ville (lines 1 & 11) / Châtelet (lines 1, 4, 7, 11 & 14) / Les Halles (RER A, B & D)|
|tel||+33 (0)1 46 59 01 53|
full rate: 10.00 €
reduced rate: 8.00 €
CIP rate: 5.00 €
card Luminor 5 screenings: 31.00 €
card Luminor 10 screenings: 54.00 €
cards accepted: CIP, UGC Illimité, CinéPass, CICAE, CNC, Europa Cinéma, SACEM, Presse, carte permanente Luminor