Festivals and Collectives
Of the many festivals and group exhibitions that took place over the period, the ones in this section have been chosen on the basis that they offer a representation of the diversity of design used in their posters, fliers and catalogues and/or that they are 'key' events in some way. It is clearly far from comprehensive.
New films from California (1968) is one of many simple but striking designs produced by Biddy Peppin for the Drury Lane Arts Lab and two later images combine key moments in the history with strong visuals. David Crosswaite's poster for Filmaktion (1973) at the Walker Gallery in Liverpool is a structured jumble of filmstrips that show performances, film-makers and ambient images in a style that references the nature of expanded cinema, while First Festival of British Independent Cinema (1975) at the Arnolfini in Bristol, is a chaotic collage.
Fantasy Factory (1976) designed by John 'Hoppy' Hopkins uses a television screen shape and this is consistent in The Video Show (1975), both neglecting the visual language codes of sprockets, cameras and filmstrips and, instead, emphasising the upsurge of videotape as an emerging medium.
Changes in artistic taste and choice can be gauged by the 'filmstrips' of the 1st International Underground Film Festival (1970) having been replaced by an iconic Dwoskin image for the 2nd Festival (1973), which has again been replaced stylistically by a hint at eighties minimalism in the design for the 3rd Festival (1979).
Berwick Street Collective '36 to '77 (1978) highlights the increasing sophistication of emerging graphic design technologies with its re-worked film still as does the artwork for a collection of artists video at Biddick Farm Arts Centre (1978) with its manipulated 'test card'. The beautifully composed and coloured Film as Film (1979) designed by Abhinavo, records the landmark exhibition at the Hayward Gallery and the Co-op Advent (1980), a twelve-camera calendar, shows that the LFMC was not without humour.
The image for First National Independent Video Festival (1981) at Gloucester Avenue repeats the TV screen motif and a later image for the 2nd International Super 8 Film Festival (1985) naturally relocates the 'material' of film to the foreground.