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Cinim 2

Cinim 2

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Published by LUX
Cinim, the first in-house magazine of the London Filmmakers Co-operative which was published between 1967 - 1969. The magazines offer a fascinating picture of the early days of the Co-op as well as landscape of film and art in which it operated at the time. Cinim was edited by Philip Crick and Simon Hartog with production by Bob Cobbing and Steve Dwoskin and includes writing by Jonas Mekas, Ray Durgnat, Ron Geesin, Omar Diop, Pier Paolo Pasolini, Alex Viany, Norman Fruchter amongst others.
Cinim, the first in-house magazine of the London Filmmakers Co-operative which was published between 1967 - 1969. The magazines offer a fascinating picture of the early days of the Co-op as well as landscape of film and art in which it operated at the time. Cinim was edited by Philip Crick and Simon Hartog with production by Bob Cobbing and Steve Dwoskin and includes writing by Jonas Mekas, Ray Durgnat, Ron Geesin, Omar Diop, Pier Paolo Pasolini, Alex Viany, Norman Fruchter amongst others.

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Published by: LUX on Mar 29, 2012
Copyright:Attribution Non-commercial

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06/20/2014

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Editorial
PhilipCrick
Aestheticians
of
theCinema:2
Simon
Hartog
Against
Secrecy
PhilipCrick
Dwoskin'sDreamFilms
RaymondDurgnat
If
aFilm
StephenDwoskin
FilmasContinuousStaticGraphicImages
J
Shaw,T
Van
Tyen,W
Breuker
From:TheFilm-makers'Cinematheque
JonasMekas
Report
Bob
Cobbing
Notes
fromthe
Wee
Book
RonGeesin
Cinimations
.....................•........................................•.................................................
EDrroR:PhilipCrickAf(f/PROOUCTION:StephenDwoskin
LondonFtJmakel'SfJoperative
CHAIRMAN:RaymondDurgnatJOINTSECREfARIES:BobCobbing,RonGeesin
94
CharingCrossRoadWC.2.Price:2!6
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Correspondence,andcontributions,shouldbesenttotheEditor,CINIM,25DurlstonRoad,KingstononThames.Contributionsmustbetypeddoublespacedandaccompaniedbyastampedaddressedenvelope,orinternationalreplycoupon.Intendingcontributorsareadvisedthatourmain,thoughnotexclusiveinterestisinthegrowth-pointsofthecontemproarycinema,increativefilm-making,andinthestudyindepthofworkbydirectorsofinternationalstatus.Originalworkintheareaoffilmaestheticsisalsowelcome.(NopaymentcanatpresentbeOffered).
PrintedinEnglandbyDix(CharlmontPress)Ltd.,489aNewCrossRoad,London,S.E.14
 
EDITORIAL
Whatinhibitstheprofessionals?Fear.Fearofanoverdraft.Fearofthenorm.Fearofcensorship.Fearofspeakingoutinthelanguagetheycontrol.Sotheymakeinhibitedfilms.Orobliquefilms;insinuatingsequences.Whatinhibitsthenonprofessionals?Timidity.Thecompulsiveurgetocopy.Andlackofmoney.Sotheymakeardentnon-films.Likeagoodpoet,thefilm-creatormustbe:1.acraftsman,2.atechnician,3.unafraid.Thesethreetothelimitsofhisstrength.Thesethreetotheextremesthateachcanbear.Who,then,remains?Lunatics,lovers,andpoets.Hemustnotbeafraid.Notafraidtoconnectthroughcamerahispainwiththeworldspain,hishatewiththeworldshate,hisownturbulencewiththerageoftheimage.
PHILIPCRICK

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