Uprising: Spirit of ’68 is a season supported by funds from the National Lottery, led by Film Hub Midlands on behalf of the BFI UK Film Audience Network.

For this unique event we have commissioned three Northern Irish bands/collectives to produce and perform new live soundtracks to films made in the historic year 1968.

The line up includes: Documenta, Robocobra Quartet and a collaboration between Isobel Anderson, John D’Arcy and the HIVE Choir.

These short films are all experimental in nature. In technique and content they reflect the spirit of the era. The concert will take place in a unique venue, the former Carlise Circus Memorial Church in Belfast.

There will be a bar available on site. Event runs for 2 hours approx. 

Doors open 7.30pm, Event start 8pm. 

1968 saw a spirit of both optimism and chaos, as a whole generation questioned the values of their parents and unrest flared up in cities across the world.

This summer a series of special events and screenings will be taking place across the UK – an opportunity to connect the dots between then and now, and to reflect on film’s relationship with social change.

Uprising runs from May to September 2018, and is produced by the BFI Film Audience Network with support from the National Lottery.

#Uprising68

The full schedule and list of films is below.

  • Robocobra Quartet will perform live to ‘Chromo Sud’

Mining influence from jazz, hardcore and contemporary classical music, Robocobra Quartet sound like little else. Originally formed at the Sonic Arts Research Centre, the group operate as an expanding, contracting and ever-changing collective. A no-holds-barred approach centred on a howling drummer-vocalist and menacing saxophones takes them to festivals such as SXSW and Latitude Festival.

Chromo Sud (Dir. Étienne O’Leary. 1968. 21mins.)

One of the very few films made by Etienne O’Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated ‘diary films.’ they trippily document the drug-drenched hedonism of that era’s dandies. O’Leary’s films are the cosmic nexus aligning Warhol’s Factory, Jonas Mekas’s home-movie poetics, and Kenneth Anger’s pop subversion.

  • Isobel Anderson, John D’arcy and the Hive Choir will perform live to ‘La Révolution N’est Qu’un Début, Continuons Le Combat’. 

Isobel Anderson’s music combines thoughtful songwriting with original production and ambient field recordings. To date she has released three studio albums, which have garnered nearly 20 million Spotify streams, and radio airplay on BBC Radio 2, BBC Radio 3, BBC 6 Music and The Guardian’s Music Podcast.

HIVE is a new vocal ensemble based in Belfast.  The group meets weekly to explore improvisation and alternative music notation in the form of verbal and graphic scores.

John D’Arcy directs HIVE.  John currently lectures in digital media at Queen’s University Belfast.  He is a member of UMBRELLA sound art collective and a participating artist on the Virtually There project.

La Révolution N’est Qu’un Début, Continuons Le Combat. (1968. Pierre Clemente. 22 mins.)

Half family photo album, half ciné-tract, the film was shot in Paris during the events of May ‘68 and in Rome, this silent film appears to be one of Clémenti’s most purely beautiful and concentrated works, at times recalling Brakhage and Eisenstein.

  • Documenta will perform to ‘Rohfilm’ and ‘A Work’.

Documenta are a cosmic drone-pop septet from Belfast who’re as inspired by Detroit’s hit factory as they are the murky guitar minimalism of early eighties Britain. Since their inception in 2009, they’ve produced two otherworldly albums – Drone Pop #1 and Drone Pop #2, exploring their mutual interests of astronomy, melody and noise.  Their David Holmes-produced track Love As a Ghost, was released this year.

Rohfilm (1968. 20 mins. West Germany) 

Rohfilm includes actual film collage and hand attacks upon the celluloid as well as wandering framelines and sprocket holes.

A Work (1968. 15 mins. Marurice Lemaître)

The cinematic counterpart of Tzara’s “words in a bag”. It was made, in fact, from film elements caught in the bins of a film laboratory, which were joined end to end in the same order of recovery.