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.

Introduction
Sue Clayton and Laura Mulvey
Part 1
Critical contexts for 1970s experimental filmmaking
Chapter 1
Sophie Mayer: Feminism and psychoanalytic theory
Chapter 2
Nicolas Helm-Grovas: Screen theory
Chapter 3   
Politics and documentary practices
Chapter 4
Colin Perry: Brecht and theories of history
Part 2
Infrastructures, technologies and 1970s experimental filmmaking
Chapter 5
Ed Web Ingall: The technologies and practices of community video
Chapter 6
Julia 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-nova
Part 3
Practices, aesthetics and 1970s experimental filmmaking (The 200 avant-gardes)
Chapter 9
Catherine Elwes: Avant-garde video and experimental television 
Chapter 10
Steven McIntyre: Structural materialism at the London Film-makers Co-op
Chapter 11
Patti Gaal-Holmes: Women's voices
Chapter 12  
Daniela Rose King: The black workshops and collective practice
Part 4
Case Studies
Chapter 13
Amy Tobin: Rapunzel, Let Down Your Hair (1978)
Chapter 14
Kodwo 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 Collective
Postscript
Sue Clayton and Laura Mulvey