Part of the 50th anniversary celebrations of the London Film-Makers’ Co-op, curated by Maud Jacquin. A series of screenings and discussions dedicated to the women filmmakers of the LFMC As part of the 50th anniversary celebrations of the London Film-makers’ Co-op (LFMC), Tate Modern opens its Counter-Histories series with a programme dedicated to a rarely seen but remarkable ensemble of films – both single screen and expanded – made by women filmmakers since the 1970s in the context of the artist-led, cooperative organisation. Produced against a backdrop of growing feminist consciousness, these films built on the methods, processes and ethos associated with the Co-op to address the world outside of the projection room. Programme 'Collapsing the Frame' Friday 23 September Opening night of the Tate Film series From Reel to Real: Women, Feminism and the London Film-makers’ Co-operative ​ The filmmakers in this programme experiment with film structure in an attempt to collapse the frame within which women are confined, both cinematic and cultural. Their films evoke feelings of entrapment and oppression at the same time as they enact a radical attack on patriarchal authority as embedded in both social and filmic conventions. In particular, they express a categorical refusal to submit to the masculine gaze, either by opening up the possibility of reciprocal looking or by avoiding female representation entirely. Sally Potter, Jerk, UK 1969, 8mm transferred to digital, black and white, silent, 3 min Jayne Parker, I Dish, UK 1982, 16mm, black and white, sound, 15 min Nina Danino, First Memory, UK 1981, 16mm transferred to digital, colour, sound, 20 min Sarah Turner, One and the Other Time, UK 1990, 16mm transferred to digital, colour, sound, 5 min Alia Syed, Unfolding, UK 1988, 16mm, black and white, sound, 20 min Tina Keane, Faded Wallpaper, UK 1988, 16mm, colour, sound, 20 min ​ Jean Matthee, Neon Queen, UK 1986, 16mm, colour, sound, 40 min (extract 25 min) Please note that this film contains pulsations of light The screening is followed by a discussion with Nina Danino, Jean Matthee, Jayne Parker and Alia Syed, moderated by the series curator Maud Jacquin. Programme 'Inside Out' Saturday 24 September: A screening examining film as a plastic space of subjective projection Resolutely non-verbal, the films in this programme rely on the power of the moving image to give visible presence to profound, intangible inner feelings. The desires, fears and fantasies that constitute subjective experience are externalised both onto the performers’ bodies and into the filmic space, which becomes at once intensely personal and symbolic. Most of these films lend flesh to the ambivalent emotions involved in the relationship to an ‘other’. Jayne Parker, K, UK, 1989, 16mm, black and white, sound, 13 min Jayne Parker, The Pool, UK, 1991, 16mm, black and white, sound, 10 min Moira Sweeney, Looking for the Moon, UK, 1995, 16mm, black and white, silent, 7 min Tanya Syed, Delilah, UK, 1995, 16mm, black and white, sound, 11 min Tanya Syed, Chameleon, UK,1990, 16mm, black and white, sound, 4 min Sarah Pucill, Swollen Stigma, UK, 1998, 16mm transferred to digital, colour, sound, 21 min Cordelia Swann, Phantoms, UK, 1986, Super 8 transferred to digital, colour, sound, 18 min The screening is followed by a discussion with Jayne Parker, Tanya Syed and Cordelia Swann, moderated by Cécile Chich, independent researcher and former board member of LFMC/LUX.