These films from different decades reflect artists’ responses to the threat of War and aggression. 

Films showing in this section

Games & Devices

Games can be played in front of the camera, to provide the viewer with an engaging spectacle. More ambitiously, games can form the structure of a film, and even involve the participation of the viewer. 

Films showing in this section

The Lens

Artists have sometimes drawn attention to the mediating role of the camera’s lens, which controls both the focus and the brightness of the image. 

Films showing in this section

In Memoriam

Many works of art have been made in an attempt to retain important memories These films were all made by artists as they dealt with the loss of family, friends or valued institutions. 

Films showing in this section

The Undercut Generation

Undercut was the magazine of the London Filmmakers’ Co-op. Appearing irregularly between 1980 and 1990, the magazine was run collectively, and most of its editors and contributors were artists. This sequence of films reflects some of the work championed in the magazine’s pages. 

Films showing in this section 


One of the essential building blocks of cinema is visual metaphor, in which one (or more) image stands in for, or qualifies, another. In this sequence of films, the images have both descriptive and metaphorical functions. 

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Capturing and preserving the likeness of friends and celebrities is a recurring preoccupation in film, as in painting and sculpture. 

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Dailyness - Film Art

Artists and experimental filmmakers in the 1920s and 1930s showed their films in clubs such as the Film Society in London. Their manifestos and ideas were debated in magazines devoted to film’s avant-garde such as Close Up and Film Art

Films showing in this section

The Body Observed

In this sequence of films the performing body provides a central metaphor for human consciousness and emotions. 

Films showing in this section

Conceptual Film: Propositions

The explosion of experimental filmmaking in the 1970s occurred on two fronts. Artists associated with the London Filmmakers’ Co-op tended to see the phenomenon and material of film as a source of subject matter. Conceptual artists saw film primarily as a recording and documenting medium. Characteristically, the works in this sequence make statements and propose ideas. 

Films showing in this section