Malcolm Le Grice wrote:
Little Dog For Roger is made from some fragments of 9.5 home movie that my father shot of my mother – myself, and a dog we had. This vaguely nostalgic material has provided an opportunity for me to play with medium of celluloid and various kinds of printing and processing devices. The qualities of film the sprockets the individual frames the deterioration of records like memories, all play an important part in the meaning of this film.Read More »
Quote:
(…) one and four screen versions (…)
Threshold is based on a small number of component sequences. It begins with abstract colour fields filling the whole screen then develops through other simple abstract images created by accidental exposure of film stock – edge fogging. The main image of the film is of border guards at a frontier post.
The film explores a range of film printing techniques using colour filtering, mattes and multiple superimpositions. It also includes a short section of computer generated abstract animation made at the Government Atomic Energy Laboratory in Britain in 1969.Read More »
Malcolm Le Grice wrote:
The film is based on the simple practical joke played by a little boy on the gardener. The boy stands on the water hose, the gardener looks down the nozzle to find the obstruction, the boy steps off the hose and the gardener is soaked. My remake adds a number of new features – there is a third character, the woman of the house – is she also the lover? The boy is now a girl dressed as a boy and the whole sequence of events is repeated four times.Read More »
Quote:
This film (with a soundtrack by Brian Eno) is largely filmed with an exploration of the film medium in certain aspects.
It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the “real” time which exists when the film was being shot, with the “real” time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences.Read More »
Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960’s. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the Paris Biennale No.8, Arte Inglese Oggi, Milan, Une Histoire du Cinema, Paris, Documenta 6, Kassel, X-Screen at the Museum of Modern Art, Vienna, and Behind the Facts at the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D’Avignon. A number of longer films have been transmitted on British TV, including ‘Finnegans Chin’, ‘Sketches for a Sensual Philosophy’ and ‘Chronos Fragmented’. His main work since the mid 1980’s is in video and digital media and includes the multi-projection video installation works ‘The Cyclops Cycle’ and ‘Treatise’.Read More »