14/09/2016 38' 11''

Malcolm Le Grice (Plymouth, Great Britain, 1940) is a pioneer of British experimental film. Although he trained as a painter, by the mid-sixties his interest in computers and particularly celluloid made it clear that he would focus on other media and tools. Concerned with generating experiences rather than concepts, his works often juxtapose visual and sound loops, eschewing the traditional notion of narrative in favour of immersion in an eminently chromatic, dreamlike world governed by a raw, non-linear logic. “Ideas emerge from sensation from colour, image, sound, movement, and time,” he says. Le Grice, who was fundamental to founding the Coop Film workshop -together with David Curtis- and an active member of the Coop in 1966, has also written theoretical texts and worked in the field of education. He was one of the first filmmakers to use multiple screens and to introduce experimental soundtracks to enhance what he calls the awareness of presence. In FONS AUDIO #44, Malcolm Le Grice talks about his 1970 work "Berlin Horse", which is part of the MACBA Collection and moves on to expanded cinema, materialist structuralism, latency, suspense, and the representation of time in his work.

Timeline
00:43 "Berlin Horse, 1970
03:39 Again, I had no plan
05:19 It wasn't a profecy, but...
06:33 And then Brian Eno asked me to do the soundtrack
09:23 Structuralism: a bad description
14:18 I'm not so interested in ideas
15:01 Something in there that is latent
16:18 A process that is not driven by a script or an idea
17:31 Expanded cinema
19:36 The presenceness and the spatial aspect
20:39 Narrative makes it all far too simple
22:02 It's happening now
24:04 Influences
26:17 Oppositional cinema
28:01 Politics of perception
29:00 The London Filmakers Co-op Workshop
33:45 Now you've got YouTube
34:23 A general literacy
36:27 A massively different context

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SPECIALSFONS ÀUDIOMalcolm Le GriceFONS ÀUDIOCreative Commonscinemacinema in the white cube