• 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
14/09/2016 38' 11''

English

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.

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