The 1970s was an enormously creative period for experimental film. Its innovations and debates have had far-reaching and long-lasting influence, with a resurgence of interest in the decade revealed by new gallery events, film screenings and social networks that recognise its achievements. Professor Laura Mulvey, and writer/director Sue Clayton, bring together journalists and scholars at the cutting edge of research into 1970s radical cinema for this collection. Chapters are at once historically grounded yet fused with the current analysis of today's generation of cine-philes, to rediscover a unique moment for extraordinary film production. Other Cinemas establishes the factors that helped to shape alternative film: world cinema and internationalism, the politics of cultural policy and arts funding, new accessible technologies, avant-garde theories, and the development of a dynamic and interactive relationship between film and its audiences. Exploring and celebrating the work of The Other Cinema, the London Film-makers' Co-op and other cornerstones of today's film culture, as well as the impact of creatives such as William Raban and Stephen Dwoskin - and Mulvey and Clayton themselves - this important book takes account of a wave of socially aware film practice without which today's activist, queer, minority and feminist voices would have struggled to gather such volume.

IntroductionSue Clayton and Laura Mulvey Part 1Critical contexts for 1970s experimental filmmakingChapter 1 Sophie Mayer: Feminism and psychoanalytic theoryChapter 2 Nicolas Helm-Grovas: Screen theoryChapter 3    Politics and documentary practices Chapter 4 Colin Perry: Brecht and theories of historyPart 2Infrastructures, technologies and 1970s experimental filmmaking Chapter 5 Ed Web Ingall: The technologies and practices of community videoChapter 6Julia Knight: From the LFMC to the Lux: DIY distribution networks        Chapter 7        Kim Knowles: The significance of 16mm film stock Chapter 8 Lucy Reynolds: The origins and practice of women's distribution: from Circles to Cine-novaPart 3Practices, aesthetics and 1970s experimental filmmaking (The 200 avant-gardes)Chapter 9Catherine Elwes: Avant-garde video and experimental television Chapter 10 Steven McIntyre: Structural materialism at the London Film-makers Co-opChapter 11Patti Gaal-Holmes: Women's voicesChapter 12   Daniela Rose King: The black workshops and collective practicePart 4Case StudiesChapter 13 Amy Tobin: Rapunzel, Let Down Your Hair (1978)Chapter 14Kodwo Eshun: The Song of the Shirt (1979) Chapter 15 Frederico Windhausen: River Yar (1972)Chapter 16 Rachel Garfield: Behindert (1974)Chapter 17 Jamie Chambers: the Amber Film CollectivePostscriptSue Clayton and Laura Mulvey