Lindsay Anderson’s status as Britain’s great outsider filmmaker behind works such as O Lucky Man!, If . . . and Britannia Hospital, has long seen the anti-establishment auteur championed by the University Of Stirling, which holds his considerable archive. To mark the centenary of Anderson’s birth, the life and work of the self-styled anarchist is celebrated in this exhibition, showing rarely seen production stills, theatre programmes, press cuttings and writings, with each section punctuated by written commentary from key collaborators.

Anderson’s stage work at the Royal Court is acknowledged alongside his films, while his contribution to television is marked via angry broadsides from columnists outraged by his radical production of Alan Bennett’s play, The Old Crowd (1979). There are images too from The Whales Of August (1987), Anderson’s final feature prior to his death in 1994. This brought together veteran Hollywood stars Lillian Gish and Bette Davis in an elegiac swansong for all involved. Artist Stephen Sutcliffe contributes two blown-up publicity images of Arthur Lowe and Christine Noonan from his 2007 Anderson-inspired exhibition at Stirling’s Changing Room gallery.

One of the most fascinating images on show is of Anderson flanked by George Michael and Andrew Ridgeley after he was hired to film Wham!’s 1985 tour of China, the first by any western band since the Cultural Revolution. Anderson’s unseen cut of that film had him removed from the project as outlined in a glorious litany of defiance shown here. A photograph of that incongruous trio is the perfect illustration of that decade’s contradictions, with the worlds of commerce, art and public relations colliding. As Anderson wrote, however, ‘no art is worth much that doesn’t seek to change the world.’

Never Apologise, Macrobert Arts Centre, Stirling, until Sunday 30 April.