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      • titleA Brief History of Four Corners: one of the UK’s first independent film workshops
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      • excerpt<p>One of the first independent film workshops in the UK, </p>
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        • content<p>One of the first independent film workshops in the UK, Four Corners was founded by a group of four film students who met at the London International Film School in 1973.  The name was loosely based on the fact that they came from all four corners of the world – Joanna Davis and Ron Peck were English, Mary Pat Leece was American, and Wilf Thust came from Germany.</p>
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        • content<p>Four Corners’ distinct filmmaking approach was both socially engaged and experimental. They aimed to bridge the gap between politics and art, and to bring films and filmmaking to those who had previously been excluded from the whole practice.  At 113-115 Roman Road they set up a film and cinema workshop, engaging independent filmmakers and local people in a ‘shared investigation of film-making and film viewing’.</p>
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        • content<p><em>We are generally interested in making films …which aim at challenging peoples’ preconceptions of what films are in order to encourage an active participation in what the film is about. – Four Corners Group Statement, 1978</em></p> <p>Four Corners’ earliest film projects – <em>On Allotments and Railman</em> – were collective collaborations. <em>On Allotments</em>, an in-depth look at a large site in Newham, conveyed a sense of place through slow, contemplative panning shots and a carefully composed soundtrack. The next film was very different. <em>Nighthawks</em>, developed by Ron Peck and Paul Hallam, was a full-length feature that took over Four Corners from 1975 to 1978. It was the first explicitly gay feature film set in the gay community, which showed a world still dominated by the closet lifestyle. Four Corners expanded to include Richard Taylor who, escaping his job as assistant editor for Alan Parker, edited the film with Mary Pat Leece. Lis Rhodes and Keith Cavanagh became involved shortly afterwards. </p> <p><em>Nighthawks</em> was a huge success, screening for 10 weeks at the Notting Hill’s Gate Cinema and touring the country. Ron Peck went on to make the Arts Council-funded film <em>Edward Hopper</em>(1980). Wilf Thust, Paul Hallam, Richard Taylor and Keith Cavanagh began to run the young people’s cinema workshop, and Joanna Davis and Mary Pat Leece started the ‘Mothers and Daughters’ screenings, both projects taking place at nearby Oxford House while building work completed in Roman Road. ‘In Front of the Camera, a month-long programme about filmmaking practice and acting, was held at the Half Moon Theatre, involving directors Mike Leigh and Sally Potter among others</p>
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        • content<p>Open in 1981, Four Corners’ new 45-seat cinema provided a space to view films in an active and critical way. Pioneering programmes included seasons of European classics, silent film, experimental work, social documentaries and political agitprop. The downstairs office housed Circles, the feminist film distribution company, who contributed to many of the cinema programmes. </p> <p>The history and lives of local communities became integral to Four Corners’ work, with films about youth and unemployment: <em>Don’t Think So</em> (1980) made by a group of local school students, and <em>Co-habitation Blues</em> (Four Corners Unwaged Workshop 1984). </p>
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        • content<p>The creation of Channel Four ushered in a new era for independent film production. Four Corners was formative in developing the trade union Workshop Agreement that enabled film workshops to produce work for the channel. It was an exciting time as films were broadcast under the Channel Four’s <em>Eleventh Hour</em> slot, including Four Corners’ films <em>Bred and Born </em>(1983), <em>Hang on a Minut</em>e (1983), <em>Is That It?</em> (1985) and <em>A Kind of English</em> (1986) – probably the first TV drama directed by a British Bangladeshi filmmaker. However by the late 80s Alan Fountain’s budget at Channel Four dried up, and production at Four Corners gradually declined. With funding difficult to secure, Four Corners changed its focus to providing a film workshop for filmmakers alongside practical skills training and cinema screenings.</p> <p>As the facility grew, the original members found living in the building increasingly stressful. Jo and Wilf left soon after their son was born, followed by Paul and then Ron. By 1986 the original group had disbanded. A new group of people were running the cinema and workshop: Ric Mann, Hilary Dunn, Caroline Spry and others. The organisation continued its commitment to working with local communities and supporting emergent filmmakers, alongside its cinema programmes. </p>
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      • titleThe politics of the Half Moon Photography Workshop
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      • excerpt<p>In May 1975, Jo Spence and Terry Dennett formed Photography Workshop in Islington.</p>
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        • content<h2>Mathilde Bertrand, 2018</h2> <p>In May 1975, Jo Spence and Terry Dennett formed Photography Workshop in Islington, ‘an independent educational, research, publishing and resource project’ designed to examine historical and contemporary uses of photography. Spence and Dennett were critical of contemporary photographic practices, particularly the professionalisation of the sector and its growth within a competitive market. To them, these developments undermined alternative conceptions of the medium, with historical roots in the Labour movement of the 1930s.</p> <p>The workshop grew out of our dissatisfaction with current trends in British photography and our desire to contribute, as photographers, to social change. – Photography Workshop, 1975</p> <p>For them, the ‘amateur’, or non-professional photographer could act as an agent of democratic change. They saw a need to “demystify” photography, to break its association with an expert and exclusive form of knowledge, to resist its absorption in fine arts spheres, and to preserve it as a technology accessible to all.</p>
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        • content<p>Spence and Dennett were instrumental in uncovering the history of the British Workers’ Film and Photography movement of the 1930s. They believed that the oppositional photographic practices of the past should inspire contemporary practices on the Left, and saw photography as a radical tool for the expression and emancipation of minority voices. Their positions found an echo with members of Half Moon Gallery, who recognized common aims in the need to democratize photographic skills and give photography a role in activism. The two organizations decided to combine their energies and enthusiasm and the Half Moon Photography Workshop (HMPW) was formed in October 1975. The programme developed by the group was inspiring and ambitious. “We were embarking on a significantly bigger project than the gallery had been”. (Goldwater 2017)</p>
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        • content<p>The project sustaining HMPW was bold, based on common aims: to generate critical perspectives on documentary photography; to support politically-conscious photographic practices; to expand the ways that people could gain access to photography outside of established cultural institutions. HMPW played a central role in the politicization of debates on photographic documentary, both in the UK and beyond. </p> <p>The project revolved around three main activities: gallery and touring exhibitions; the publication of Camerawork magazine to provide forum for debate on critical photographic practices and the politics of representation; and the provision of an information and resource project. The latter focused on educational workshops, community darkrooms and practical advice on using photography within community politics. Spence and Dennett’s interest in alternative histories of photography and its uses in grassroots activism, as well as their experience in photography-based educational practices, gave coherence to that side of the project and informed the notion of community photography. Bethnal Green, with its socially and ethnically mixed population, proved an ideal context in which to use photography as a tool of empowerment. A ‘People’s Gallery’ would present photographs produced by local residents. ‘Establishing a photographic centre with workshop, darkrooms and gallery in a place like Bethnal Green at that time was a radical act in itself’, Ed Barber recalls.</p>
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        • content<p>HMPW’s approach, defined in its ‘Statement of Aims’ in issue 1 of <em>Camerawork</em>, had the overarching objective of placing photographic images and technology at the centre of processes of social change: </p> <p><em>By exploring the application, scope and content of photography, we intend to demystify the process. We see this as part of the struggle to learn, to describe and to share experiences and so contribute to the process by which we grow in capacity and power to control our own lives. </em><br /> HMPW Statement of Aims, Camerawork Issue 01, February 1976 </p> <p>This position was political in considering photography as a practice whose product (photographs) was ideological and which had political effects. To ‘demystify’ photography it was essential to change it from an exclusive form of knowledge and promote it as a democratic mode of expression accessible to all. </p> <p>HMPW announced that “the running of HMPW [would] reflect our central concern in photography, which is not ‘Is it art?’ but ‘Who is it for?’ The organization was not concerned with modernist debates on the aesthetic merits of the medium. Rather, it sought to examine the plurality of photographic practices in light of their involvement in diverse social and cultural contexts.</p>
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        • content<p>HMPW appeared at a moment when similar intellectual debates happened around the ‘new art history’, which questioned the social and material contexts of artistic production, and in the emerging field of Cultural Studies, which was promoting critical theories of cultural practices, productions and institutions. Equally, HMPW shared an approach with History Workshop, whose first editorial, published in the <em>History Workshop Journal</em> (a couple of months after the first issue of <em>Camerawork</em>) stated its dedication to “making history a more democratic activity” and to encouraging the writing of socialist histories. The common reference to the workshop model indicated a preoccupation with collaborative modes of production and the sharing of skills and knowledge as methods of empowerment, be it through history writing or image-making.</p> <p>Spence’s article ‘The Politics of Photography’, (<em>Camerawork</em>, Issue 1) gave coherence to HMPW’s agenda between 1975 and 1977. The article criticized standards and practices in the press, denouncing the sensationalist and de-politicizing tendencies in contemporary editorial photography. Spence called for photographic practices committed to challenging dominant representations and encouraged photographers to question the power relations inherent in the act of taking pictures. The article was the first to address the subject of community photography – a sign of Spence’s interest in the socially transformative potential of this form of photography. </p>
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        • content<p>These alternative practices were first used by photographer Paul Carter from 1974 at the Blackfriars Settlement in London and replicated in different community projects across the country. These initiatives aimed to make photography accessible in local projects or campaigns, by teaching skills to local residents and opening darkrooms in community centres. The ambition was to make photography available to people as a tool to organize, agitate, or simply document local life in a bottom-up approach that was absent from mainstream photographic practices.</p>
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      • titleA Brief History of Camerawork Magazine
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      • excerpt<p>Camerawork is designed to provide a forum for the exchange of ideas, </p>
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        • content<p><em>Camerawork as a magazine had a quality about it - when I first saw a copy in 1976 I'd never seen a publication like it and I still haven't. It stopped me in my tracks. The A2>A4 folding format, the print quality - amazing for single pass litho - the picture spreads and the articles, they all set it apart from any other photo-magazines of that period</em> – Ed Barber</p>
        • created2025-09-08 13:52:06
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        • created2025-09-08 13:52:20
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        • content<p><em>Camerawork is designed to provide a forum for the exchange of ideas, views and information on photography and other forms of communication. By exploring the application, scope and content of photography, we intend to demystify the process. We see this as part of the struggle to learn, to describe and to share experiences and so contribute to the process by which we grow in capacity and power to control our own lives.</em> – Camerawork magazine masthead, Issues 1-19</p> <p>A key part of Half Moon Photography Workshop’s programme was the publication of a magazine. <em>Camerawork</em> was first published in February 1976, using a broadsheet format – sheets of A2 paper folded to A3, then to A4. Stencil bold, the only large typeface that they had, was used for the title. Expression Printers’ stark black and white printing was highly effective. Tony Bock, Terry Dennett, Roger Eaton, Mike Goldwater, Janet Goldberg, Marilyn Noad, Tom Picton, Jo Spence, George Solomonides and Paul Trevor produced the first issue of Camerawork, put together at a marathon all-night session in Goldwater’s studio in Chalk Farm, fuelled by coffee and beigels. After the first issue they drew Ed Barber, who was recruited to work on the accounts but quickly joined the magazine collective, along with Shirley Read, Liz Heron, Richard Platt and Jenny Matthews and many others.</p>
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        • created2025-09-08 13:54:42
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        • content<p>The early magazine had a pluralist, open and improvisational approach, encompassing articles on renowned photographers including Bill Brandt, Paul Strand and Brassai alongside alternative histories of photography, grassroots practice and DIY pages on photographic processes. Regular critiques by leading writers such as John Berger, Victor Burgin and John Tagg explored the ideological constructions shaping photographic practice. </p>
        • created2025-09-08 13:54:55
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        • created2025-09-08 13:56:48
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        • content<p><em>Camerawork</em> rapidly established itself as a forum for critical debates on the politics of documentary representation, the role of the photographer and the use of the medium in oppositional politics. As the use of larger images increased, a centre spread was added that could be pulled out as a poster. The first was Robert Golden’s photograph of miners waiting for their shift at Kellingley Colliery, Yorkshire. The second, Richard Greenhill’s dramatic image of his wife Sally minutes after giving birth to their daughter. </p>
        • created2025-09-08 13:57:08
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        • created2025-09-08 13:57:23
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        • content<p><em>Camerawork</em> included visually compelling, thematic issues such as Lewisham, the Picture Story, Portraits, Photography in the Community and Reporting on Northern Ireland. The magazine became a key platform for photography addressing left-wing oppositional politics. Reports of anti-racist demonstrations highlighted community action whilst shedding light on police brutality.  Issue 14 on Northern Ireland proved highly contentious at a time of significant press censorship. Coverage of anti-nuclear protests helped to galvanise support for the revival of the Campaign for Nuclear Disarmament.</p>
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        • created2025-09-08 14:02:32
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        • content<p>The magazine’s emphasis changed in the later issues, focusing more on broader politics of representation rather than solely photographic practice. Content expanded to include film, video, tape/slide and television with an increased emphasis on analysing mainstream media.</p> <p>Alongside this <em>Camerawork’s</em> focus became explicitly political from issue 20 (1980) in response to the election of Margaret Thatcher. The magazine’s a new masthead stated that it was ‘a journal of the politics of photography’. The editorial read: ‘We must pursue this politics of the image into all the struggles that affect our lives: struggles over class, patriarchy, power knowledge, communication and education’. This went too far for the Arts Council, who reminded Camerawork that its subsidy was ‘on the basis of its attention to photography and not as a platform for political comment’. By issue 25 the masthead had changed to the neutral statement that: ‘Camerawork aims to promote debate and discussion on politics, photography and representation’. <br /> Thatcherism marked a crisis for left cultural approaches. Black and white photography no longer felt like a connection to a radical past. ‘The Fight to Work’, a four-page spread in <em>Camerawork</em> 18, showed vivid images of the steel workers strike, and called for photography that was neither mass media representation of intimidating pickets, nor abstracted images of heroic workers. It was one of the last articles of its kind. In ‘Loves Labour Lost’, <em>Camerawork</em> 29, Kathy Myers argued that Labour’s posters helped lose them the 1983 election with their use of outdated images of working-class men in flat caps. Visual artists should ‘combine the visual sophistication of advertising with the social insight needed to provide new visions and fantasies for the future’. In her interview with Stuart Hall he also called for a new kind of imagery: ‘The left has to look around and see the language that consumer capitalism speaks to people in’. These arguments reflected the left’s seeming inability to combat a Thatcherite world in which there was ‘no such thing as society’.</p>
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        • created2025-09-08 14:04:35
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        • content<p>Increasingly the concerns of many artists and photographers moved away from social struggle towards a focus on post-modern theories of representation and popular culture. The last four issues of <em>Camerawork</em> are noticeably different. The design of issue 29 is reminiscent of <em>City Limits</em>, with articles on video exhibition, graphic design of album covers and cable music television by Malcolm McLaren. Later issues of <em>Camerawork</em> changed direction several times. From issue 29 the format was altered to an A4 magazine style, with, for the first time, an editor: first Kathy Myers, then Liz Wells. But production faltered with lack of funding, and a loss of organisational direction. The magazine folded after issue 32 in 1985. </p>
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        • content<p>During its ten years, <em>Camerawork</em> made a profound impact on debates about the politics of photography and representation, and brought an extraordinary range and breadth of documentary and photojournalistic work to audiences worldwide. The role and influence of the magazine has often been historically overlooked within the canon of established British photographic history. In recent years, however, new research, publications and exhibitions have helped to broaden the understanding and appreciation of this renowned publication for a new generation.</p>
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        • content<p>By Frances Whorrall-Cambell</p>
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        • content<p>The Young People Cinema Workshop ran at Four Corners from 1980. As a project providing training and filmmaking opportunities to young people from Tower Hamlets, it perhaps has the closest resonance to the community work Four Corners does today. The early Workshops were radically experimental: pushing the boundaries of arts and technical education, and testing the ethos of collaborative filmmaking upon which Four Corners had been founded.</p>
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        • created2025-09-08 14:58:35
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        • content<p>Wilf Thust was the Workshops originator. He had a background in art and education as a teacher in Germany, and brought methods developed in the German avant-garde. During his teacher training, Thust had studied the pedagogy of the Bauhaus and Joseph Beuys, whose proclamation ‘teaching is art’ inspired Thust’s own professional practices. As a teacher in Bremen, Thust handed out Super 8 cameras to be shared around his classes, and when his time as an educational researcher in Bielefeld University was disrupted by student protests, he made the documentary <em>The School Strike OS 77.</em></p> <p> </p> <h2>SUPER 8 CAMERA </h2> <p>Thust saw the seriousness with which these working-class students approached politics and the self-organisation they were capable of, and he took these experiences back with him to London, and to Four Corners. Along with Ron Peck, Mary Pat Leece and Jo Davis, Thust had been one of the founding members of Four Corners during their time at the London Film School. By the time Thust returned to England with Jo, who had become his partner, Four Corners was undergoing a period of transformation.</p> <p>The premises on Roman Road was converted into a cinema accompanied by a regular programme of public screenings, allowing the group to combine production, consumption and discussion of films all in one space. Out of this dynamic context, the Young People Cinema Workshop was born. Thust’s intention was that young people could actively respond to films seen at Four Corners, and then make their own work from and out of their reactions. He conceived of it as a ‘media research group’ with young people learning and working outside of a formal institution.</p>
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        • created2025-09-08 14:59:50
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        • content<p>There were benefits to working outside of the system: it allowed the Workshop to engage the most ‘unapproachable’ young people. Despite the presence of many progressive groups in Tower Hamlets, real social problems persisted alongside the brutal reality of the National Front. Thust wanted to reverse the ‘them’ and ‘us’ mentality experienced by many of the students: testing out his own prejudices whilst attempting to enter into their experiences, narrowing the gap between student and teacher.</p> <p>The form of the Workshop grew out a programme organised by Jo Davis and Mary Pat Leece called <a href="https://www.fourcornersarchive.org/archive/view/0001169" target="_blank">‘In Front of the Camera’</a>. Here, participants would view work by established filmmakers and feedback their comments, before projecting their own slides and film interpretations. The young participants became the motor of the Workshop, driving projects forward and determining the group’s course. <a href="https://www.fourcornersarchive.org/archive/view/0003830" target="_blank">Lisa Warren</a> in particular was remembered by Thust as a lynchpin. Warren had joined the Workshop from Davis and Leece’s group in Oxford House: she produced a script for the Workshop and brought a gang of friends to meetings.</p>
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        • content<p>This script became the film <a href="https://vimeo.com/334864112" target="_blank"><em>Don’t Think So</em></a>, a rough and ready tale about East End youth and their fraught interactions with family, teachers, and each other. Unlike the more polished films the participants were responding to, such as Derek Jarman’s <em>Jubilee</em> and Ken Loach’s <em>Up</em> <em>The Junction, Don’t Think So</em> registers the process of its own making and is a vital document of the learning and thinking that went on in the Workshop. The group used scrapbooking and wall charts to map out ideas. Part account of progress, part guest book, and part space for critical comments, these sheets spilled out into the film itself in hand-drawn intertitles and sets. The final film is fun and more than a little anarchic: charmingly clumsy at points as you see the participants learning on the job.</p>
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        • content<p>Funding from the Channel 4 Workshop Agreement allowed Thust to undertake more ambitious projects. Between 1982 and 1985 <em>Is That It?</em> was under production at the Workshop. Thust devised it as a film made solely by the young people of Tower Hamlets, with Four Corners providing only the technical means and training, with no conceptual guidance. The project soon evolved to become a diary of work, recording Thust’s interactions with the young participants alongside media statistics about the lives of youth in the borough. Although the final film was not well received, it was groundbreaking in its foregrounding of young voices, and as a record of the Workshop resonated throughout the years.</p>
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      • 3Story/Model/StoryContent.php
    • Controller(array)
      • 0Story/Controller/StoryPostsController.php
      • 1Story/Controller/StoryAppController.php
  • StoryAdmin(array)
    • Config(array)
      • 0StoryAdmin/Config/bootstrap.php
      • 1StoryAdmin/Config/routes.php
  • User(array)
    • Behavior(array)
      • 0User/Model/Behavior/LoggingBehavior.php
    • Model(array)
      • 0User/Model/User.php
  • UserAdmin(array)
    • Config(array)
      • 0UserAdmin/Config/bootstrap.php
      • 1UserAdmin/Config/routes.php