Movies by Malcolm Le Grice

Threshold

Threshold

Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity… With the film’s culmination in representational, photographic imagery, one would anticipate a culminating “richness” of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate the work which is necessary to decipher that cine...

Berlin Horse

Berlin Horse

Two fragments of 8mm home-movie footage shot by the artist near Berlin weave together in repeating cycles of action, temporal manipulation, and colour distortion, heightening the viewer’s awareness of film-time and the film-image, and perception of colour in motion.

Arbitrary Logic

Arbitrary Logic

Arbitrary Logic, an interactive audio-visual synthesiser was first presented under the working title Osnabruk at the Osnabruk festival of 1987 and later as part of an improvised and computer music performance with Keith Rowe at the London Filmmakers Cooperative, December 1989.

Spot the Microdot

Spot the Microdot

This film was made by punching circular holes into fully opaque film stock and laying discs of colour film into some of the punched holes. Only the original copy of this film exists – it cannot be printed and is therefore projected only on rare occasions. As with other Le Grice films from the late 1960s, Spot the Microdot is marked by a radical rejection of ‘illusionism’, choosing to focus instead on the material properties of the film medium itself.

Little Dog for Roger

Little Dog for Roger

A nostalgic exploration, comprising fragments of reworked 9.5mm home movie footage. The deterioration of the original film, like memories, contributes to the film’s meaning.

After Manet, After Giorgione – Le Dejeuner sur l'Herbe or Fete Champetre

After Manet, After Giorgione – Le Dejeuner sur l'Herbe or Fete Champetre

Le déjeuner sur l’herbe is simultaneously perceived from four different camera positions in a work which engages with the pro-filmic in order to question documentation, illusion and the film viewing process.