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Peter Gidal and the London Film-Makers’ Co-operative

Peter Gidal building the London Film-Makers’ Co-operative projection booth at the Dairy, London, 1971. Photo: Malcolm Le Grice.

Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative 1966–76, edited by Mark Webber. London: LUX, 2016. 288 pages.

Flare Out: Aesthetics 1966–2016, by Peter Gidal; edited by Mark Webber and Peter Gidal. London: The Visible Press, 2016. 288 pages.

IT WAS NOT a shot heard round the world. It was more like a birth announcement, couched in playfully telegraphic syntax and supposedly cabled to Jonas Mekas, a founder of the New York Film-Makers’ Cooperative, in 1966: LONDON FILM-MAKERS COOP ABOUT TO BE LEGALLY ESTABLISHED STOP PURPOSE TO SHOOT SHOOT SHOOT SHOOT SHOOT STOP NEVER STOP . . . IF YOU WANT TO MAKE FILMS . . . COME ALL YOU NEEDS IS EYES IN THE BEGINNING STOP. This legendary telegram (likely never sent) is one of many primary documents reproduced alongside ample oral histories in a volume aptly titled Shoot Shoot Shoot: The First Decade of the London

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