Having studied at the Royal College of Art in London, Lis Rhodes was an active member of the London Filmmakers Coop for many years. She was the Coop's cinema programmer 1975-76, before going on to become one of the founders of Circles Women's Film & Video Distribution in 1979. She was also a member of the Four Corners Film Workshop and an arts adviser to the Greater London Council 1982-85. She has been a lecturer at the Slade School of Art in London since 1978.
Total trailers found: 19
01 January 1985
Home movies shot on Super 8mm by W+B Hein over 10 years.
28 March 2023
Lis Rhodes’ latest essay film Disquiet, made against the backdrop of the pandemic, continues her ongoing project of documenting and drawing attention to the progressive eradication of justice, equality and individual liberties as a consequence of neoliberal capitalism.
02 January 2010
‘When watching In the Kettle which focuses on the topical subject of protest, then one may feel that Rhodes is only concerned with finding a way to get a message across, but her work has a visual richness that gives it another dimension.
01 January 1975
Light Music is a classic work of expanded cinema. Formed from two projections facing one another on opposite screens, Light Music is Rhodes’ response to what she perceived as the lack of attention paid to women composers in European music.
01 January 1999
Orifso is in the form of a fable, though based upon histories of Europe, 1942 -1998, located in the picture space, on a road in France and on the streets of London.
01 January 1978
The bloodstained bed suggest a crime..No answers are given, after the torrrent of words at the beginning of the film, all the film offers are closed images and more questions.
02 January 2012
‘Dissonance and Disturbance, a two-screen installation, brings together Cold Draft (1988) and two films partly shot amid recent protests in London.
01 January 2016
Journal of Disbelief tears pages out of the last 20 years to remind and to warn. In September 2001, Barbara Lee, a Democrat from Oakland, was the one member of the US Congress out of 535 who voted against handing President Bush unconditional power to take military action.
02 January 1975
A compressed, single-screen version of Rhodes’ famous fusion of optical sound and image. Light Music was shown in a 16 mm single screen format (1976).
31 December 2018
In the trap of a neoliberal economy lives are determined by conditions of increasing inequality and accumulating debt.
01 January 1996
In 1985 as part of research into the state of drinking water supplies Lis Rhodes and Mary Pat Leece, an American artist living in the UK, visited West Virginia where open cast mining had polluted the water sources.
01 January 1988
Shows the surveillance of a woman by overseers who have judged her to be mad. What is most provocative about this film is that it proposes multiple credible points of view even as the woman is being certified insane by the Censors.
01 January 1993
‘Through the use of blur, Lis Rhodes in Just About Now (1993), reproduced on an Arts Council publicity postcard, abstracts the video image in a painterly fashion.
01 January 1983
Hang On a Minute addressed issues topical to the political landscape of the period – many of which are still urgent today, from Greenham Common to domestic violence – with formal ingenuity, wit and contained but steel-edged anger at injustice.
01 January 1983
Lis Rhodes' poem dwells on the moments before a political thought is translated into a distinctive physical organisation, such as the women who surrounded the Greenham missile base.
01 January 2004
The origin of the word riff is unknown. In music it is used to represent a repeated phrase. It has been suggested that a riff is a refrain : …recognition places one in many, many in one place, removed and removed again, categorically policed… In front of our eyes they are clearing the streets for the record.
01 January 1971
‘At the work's core is an experimental approach to the stuff of film and a fiercely political outlook.
01 January 1982
In "Pictures on Pink Paper" Rhodes analyses language as a cause rather than symptom of gender inequalities by looking at the ways in which the association of women with nature and men with culture is linguistically embedded, (seen, for example, in the consistent use of female pronouns to refer to "natural" objects).
