Arthur Lipsett’s first film was nominated for an Academy Award in 1962, marking the arrival of an influential new voice. The film’s dark humour and dancing rhythms had captured the spirit of his times. When Lipsett died by suicide in 1986, the humour and joy of his work was eclipsed by that sardonic darkness. It all came to feel like an omen.

Movement as Meaning in Experimental Cinema offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference.

The 1960s and 1970s were a defining period for artists’ film and video, and the London Film-Makers’ Co-operative (LFMC) was one of the major international centres. Shoot Shoot Shoot documents the first decade of an artist-led organisation that pioneered the moving image as an art form in the UK, tracing its development from within London’s counterculture towards establishing its own identity within premises that uniquely incorporated a distribution office, cinema space and film workshop.