The Independent Filmmakers Association (IFA) was formed in London in 1974 to represent the various strands of predominantly leftist and experimental independent filmmaking in post-war Britain. For the next fifteen years, the IFA played a key role in the expansion of British independent film, lobbying the establishment for funding and recognition, and even securing its own department within the new Channel 4 upon its launch in 1982. Four decades after the IFA was founded, the Radical Film Network was formed by a collection of artists, activists and academics (including ex-IFA members) involved in the resurgence of progressive and experimental film culture currently ongoing in the UK and elsewhere. Despite almost four decades between them, many of the questions and challenges facing the RFN today were addressed by those involved with the IFA. What constitutes oppositional film culture? How should a counter-cultural network be organised? What roles should different actors – filmmakers, academics, activists, the state – play within that culture? Drawing on archival research, interviews and the growing body of contemporary scholarship engaged in ‘rediscovering’ 1970s independent film culture, this article situates these questions within a conceptual framework derived from various approaches to network theory found in cultural studies, social movement studies, organisational studies and management studies. In doing so, it offers fresh insight into the IFA’s legacy and the lessons it holds for those involved with the RFN. Moreover, the article demonstrates the importance of such network organisations and their crucial role in developing film cultures, and contributes a new methodology for their analysis.

中文翻译：

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组织反文化：独立电影人协会和激进电影网络的结构、组织和可持续性挑战

独立电影制作人协会 (IFA) 于 1974 年在伦敦成立，代表战后英国以左翼和实验为主的独立电影制作的各个方面。在接下来的 15 年里，IFA 在英国独立电影的扩张、游说该机构寻求资金和认可方面发挥了关键作用，甚至在 1982 年新第 4 频道推出后确保了自己的部门。IFA 成立四年后成立后，激进电影网络由一群艺术家、活动家和学者（包括前 IFA 成员）组成，他们参与了目前在英国和其他地方正在进行的进步和实验电影文化的复兴。尽管他们之间有将近四年的时间，但今天 RFN 面临的许多问题和挑战都由参与 IFA 的人解决。什么构成了对立的电影文化？反文化网络应该如何组织？不同的演员——电影制作人、学者、活动家、国家——应该在这种文化中扮演什么角色？借助档案研究、访谈和越来越多的当代学术研究，致力于“重新发现”1970 年代的独立电影文化，本文将这些问题置于一个概念框架内，该框架源自文化研究、社会运动研究、组织研究中发现的各种网络理论方法。和管理研究。通过这样做，它提供了对 IFA 的遗产及其为参与 RFN 的人员所带来的教训的全新见解。此外，文章还展示了此类网络组织的重要性及其在发展电影文化中的关键作用，