Malcolm le grice biography channel
It also included a unique experimental score provided by Brian Eno, then exploring similar, post-John Cage, post-serial composition motives but through music and magnetic tape. As with many other works, Berlin Horse could be experienced single-screen; double-screen; however many screens you want. An erudite thinker and writer, and a painter, but ultimately a filmmaker, Le Grice used the passage of time and the act of playback to elucidate concerns and formal ruptures in traditional filmmaker aesthetics and language construction.
Malcolm le grice biography channel
Nevertheless, there were phases, changes in mood, mode and approach. His influence at the BFI extended to sitting on the board of the BFI Production Board a precursor to the current Filmmaking Fund , viscerally challenging long-standing industry veterans to overhaul their thinking. He was at once outspoken yet stoic; warm yet busy with thought.
His move from formalist, anti-narrative, yet poetic 16mm filmmaking, to more overtly expressionistic, even diaristic video fractured assumptions about his work, and maybe even his own ideas, bringing change and development. Colour, direct manipulation of material, lyricism, and raw experience: these all excited and preoccupied him and he continued to make and show work until virtually the very end.
LeGrice 's work has explored the complex relationships between the filmmaking, projecting and viewing processes which constitute cinema as a medium, and shows an intense interest in the processes enabled by optical printers and by the combination of different types and gauges of film stock. He started out as a painter in London in the early s and turned to filmmaking in the middle of the decade with the Super-8 film China Tea , which he followed with Castle 1 and Little Dog For Roger both , made mostly from re-worked found footage.
Castle 1 can be seen as prophetic: for screenings of the film in , LeGrice hung a light bulb next to the screen, flashing on and off at regular intervals and, when on, obliterating the screen image, a practice used in Martin Creed 's Turner-prize winning installation some 35 years later. In the '60s his work was informed by the radical politics of the period in opposition to the Vietnam War and US cultural imperialism, and extended to a deep hostility towards the 'illusionism' of Hollywood and other commercial cinemas.
Le Grice was born in Plymouth , Devon , on 15 May He balanced his practice as a filmmaking artist with campaigning for the art form in print, in higher education, and in committees at the British Film Institute and the Arts Council. Le Grice started his career as a painter but began to make film and computer works in the mid s, [ 5 ] becoming a pioneer of computer-generated filmmaking.
A number of his longer films were transmitted on British television, including Finnegans Chin , Sketches for a Sensual Philosophy and Chronos Fragmented. His main works from the mid s were in video and digital media and includes the multi-projection video installation works The Cyclops Cycle and Treatise.
For three years in the s he wrote a regular column for the art monthly Studio International and published numerous other articles on film, video and digital media. Many of these were collected and published under the title Experimental Cinema in the Digital Age by the British Film Institute in Le Grice was married to Judith Le Grice and had two children.
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