James Scott
An intimate portrait of British pop artist/filmmaker Derek Boshier, shot on an iPhone in his studio in California. Boshier, once commissioned by David Bowie, reflects on his life and creative practice while working on a giant drawing, 'World News', and a series of paintings titled 'Night and Snow'.
James Scott's biopic of his father William Scott, his childhood and his origins as a painter.
Anne Bean, John McKeon, Stuart Brisley, Rita Donagh, Jamie Reid and Jimmy Boyle are interviewed about their artistic practice and the legacy of Surrealism on their work.
Thrown out of the house by her uncle, Aksinya marries her lover, a sexton, and five months later gives birth to a son, Coilin.
“The Nightcleaners” is set in the context of the campaign (1970-1972) to unionize the women who cleaned office blocks at night and were being victimized and underpaid. Intending at the outset to make a campaign film, the Collective was forced to turn to new forms in order to represent the forces at work between the cleaners, the Cleaner's Action Group and the Unions - and the complex nature of the campaign itself.
Two screens of film about - and sometimes shot by - Claes Oldenburg, detailing his inspiration, his methods and his relationship with his partner Hannah Wilke.
The work and preoccupations of British painter and collage artist Richard Hamilton.
Love's Presentation is a study by filmmaker James Scott of the British artist David Hockney at work in April 1966, when he began a series of etchings based on love poems by the Greek/Alexandrian C.P. Cavafy.
In Separation - of what from what? Sound, image; cause, consequence; people? The breaking apart of a relationship is exteriorised far beyond the taut emotional inner worlds of a young Brighton couple in this highly concentrated, sharp 60s short.
A chance love affair between a teddy boy and a painter, set in early 1960's London. This was a student film made with the assistance of a BFI grant and its influences include the British Free Cinema movement, John Cassavetes' Shadows (1959) and, for the love scene, Alain Resnais's Hiroshima Mon Amour (France, 1959). The film's young hero is a cross between James Dean's troubled teenager in Rebel Without a Cause (US, 1955) and Albert Finney's defiant mechanic in Saturday Night and Sunday Morning (d. Karel Reisz, 1960). Initially portrayed as a self-assured, arrogant and immature teenager, his chance meeting with a pretty, sophisticated middle-class artist reveals a more insecure, fragile side. The climactic love-making scene earned Scott the first X certificate given to an amateur filmmaker. This short film is an extra on the BFI Flipside DVD The Pleasure Girls.
