Tony Sinden

The Pink Auto, screened using two projectors, is one of the very first examples of expanded cinema. Jeff Keen walks as a zombie and carry his dead bride through brown English fields.

An impending gunfight moves from a conventional confrontation to a confrontation with audience expectation as camera action predominates. A film in which the less you see of what you expect - the more there is exposed.

Experimental film consisting of two super-imposed (in camera), continuous looping camera movements across a short stretch of the English Channel. A light swell, two marker buoys and a pier are the only features, apart from the repeated rotation of the camera play.

This surface and Edge [also being screened in this programme] are two of 5 Films (View, This surface, Actor, Edge, Between) made by David Hall and Tony Sinden in 1973. These works investigated the primal conditions of cinema itself. The films explore the relationship between screen image and spatio-temporal illusion – the materiality of the screen in relationship to the image as representation. Ideas that each artist would continue to explore after collaboration. But further to these concerns, these films mark a vital phase in the process of both artists as they sought to create a body of work with intellectual rigour without sacrificing the imaginative and aesthetic qualities of art.

Art film part of the REWIND + PLAY, An Anthology of Early British Video Art box-set.

Between is a highly-wrought piece of structuralism which makes no concessions to its audience…it implicates viewers in what is happening on the ‘other side’ of the screen… and one is fully conscious of the role of the photographer. The camera is made to approach a lit screen in a viewing theatre before turning full circle to approach the projector… the trip was made only once, but the sequence is repeated by an intricate process using successive generations of prints – a print from a print etc… Here there is a progressive deterioration of ‘quality’ and the image breaks up into signs and symbols and finally into abstract fragments. What we have then is a clear case of art as truth through fabrication, with the imperative that the fabrication, the contrivance, must be revealed…

A kaleidoscopic experimentation in colour, in which familiar Brighton locations are distorted and interspersed with imagery from adverts and film clips.

No synopsis available yet.

An experimental film which attempts to develop a sense of 'actual physical time' relative to the events observed, recorded within the original camera direction.