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.

Malcolm Le Grice wrote:
I thought it was about film as a medium and material – scratches, sprocket holes, dirt, slippage in the projector, blank screen, gaps in the sound-track – I forgot that one of the boys was me, the other was my brother, the young woman was my mother – now dead – and behind the camera in 1952 was my father – the dog was mine – nothing to do with Roger – that’s another story.

Malcolm Le Grice - 1967 - Little Dog for Roger [DVD-PAL].mkv

General
Container:  	Matroska
Runtime: 	12 min 12 s
Size: 	315 MiB
Video
Codec: 	x264
Resolution: 	720x572 ~> 762x572
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	3 419 kb/s
BPP: 	0.332
Audio
#1:  	zxx 2.0ch AC-3 @ 192 kb/s (Main)

https://nitro.download/view/6A04CA3957624D3/Malcolm_Le_Grice_-_1967_-_Little_Dog_for_Roger__DVD-PAL_.mkv

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The post Malcolm Le Grice – Little Dog for Roger (1967) first appeared on Cinema of the World.

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.

The title is intended to imply various forms of threshold or edge when significant transformations occur or are inhibited – the border of a state, the perceptual points when one optical experience transforms to another the point at which an image becomes an abstraction of its shape or movement.

The performance version of the film is an improvisation – moving the projectors and superimposing the image as the projection takes place.

Deke Dusinberre wrote:
Threshold, made five years later, aptly offers points of comparison with Little Dog For Roger. 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. The initial use of pure red and green filters gives way to a broad variety of colours and the introduction of strips of coloured/celluloid which are drawn through the printer begins to build an image which becomes graphically and spatially complex – if still abstract – and which evokes the paintings of, say, Clifford Still or Morris Louis. 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 (as in Little Dog) the work which is necessary to decipher that cinematic image.

Malcolm Le Grice - 1972 - Threshold (Single Screen Version) [DVD-PAL].mkv

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Container:  	Matroska
Runtime: 	13 min 23 s
Size: 	326 MiB
Video
Codec: 	x264
Resolution: 	718x572 ~> 762x572
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	3 207 kb/s
BPP: 	0.312
Audio
#1:  	zxx 2.0ch AC-3 @ 192 kb/s (Main)

https://nitro.download/view/9231D8798D31F3E/Malcolm_Le_Grice_-_1972_-_Threshold_(Single_Screen_Version)__DVD-PAL_.mkv

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The post Malcolm Le Grice – Threshold [Single Screen Version] (1972) first appeared on Cinema of the World.

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.

It explores all four versions of film material, black and white positive, black and white negative and colour positive and negative. It also explores sound and different viewpoints and camera movements. It places the spectator into the role of cinema detective – philosophically it asks what can you know for sure from the evidence of the cinematic document.

Quote:
Though shot in 1974 before After Manet, its conception post-dated all the preparatory work for that film. It handles in a single screen way a similar area of problematic relying more evidently on speculation by the audience of the ‘out of shot’ state of affairs, and on the expected development of the work. Like the Manet film, it is based loosely on another work, in this case adding a character who does not feature in the Lumiere film. Both works are concerned with cinematic procedures and with the audience procedure in structuring the material.

Malcolm Le Grice - 1974 - After Lumière—L'Arroseur arrosé [DVD-PAL].mkv

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Container:  	Matroska
Runtime: 	12 min 57 s
Size: 	318 MiB
Video
Codec: 	x264
Resolution: 	696x572 ~> 742x572
Aspect ratio:  	1.298
Frame rate: 	25.000 fps
Bit rate: 	3 236 kb/s
BPP: 	0.325
Audio
#1:  	zxx 2.0ch AC-3 @ 192 kb/s (Main)

https://nitro.download/view/A09848E957923CD/Malcolm_Le_Grice_-_1974_-_After_Lumiere_L_Arroseur_arrose__DVD-PAL_.mkv

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The post Malcolm Le Grice – After Lumière – L’arroseur arrosé (1974) first appeared on Cinema of the World.

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.

The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing ‘solarization’ image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.

129MB | 6m 53s | 720×576 | mkv

https://nitro.download/view/083206D7E0ABCE0/Berlin.Horse.1970.DVDRip.x264-KG.mkv
or
https://fikper.com/gWvYmgAbDN/Berlin.Horse.1970.DVDRip.x264-KG.mkv

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The post Malcolm le Grice – Berlin Horse (1970) first appeared on Cinema of the World.

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’.

Le Grice has written critical and theoretical work including a history of experimental cinema ‘Abstract Film and Beyond’ (1977, Studio Vista and MIT). For three years in the 1970’s he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title ‘Experimental Cinema in the Digital Age’ by the British Film Institute (2001).

Founded in 1966, the London Film-Makers’ Co-operative started life at Better Books, a counter-culture bookshop on Charing Cross Road, where a group led by poet Bob Cobbing and filmmakers Stephen Dwoskin and Jeff Keen met to screen films. Initially inspired by the activities of the New American Cinema Group in New York, the London Co-op grew into a pioneering organisation that incorporated a film workshop, cinema space and distribution office. During its four-decade history, the Co-op played a crucial role in establishing film as an art form in the UK and participated in a vibrant international film scene. This BFI Player collection brings together new scans of films distributed by and/or produced at the London Co-op.

Blind.White.Duration.1968
Emily.(Third.Party.Speculation).1979
Spot.the.Microdot.1969
Yes.No.Maybe.Not.1967

https://nitro.download/view/84D5F011335E32C/Malcolm.Le.Grice.-.Collected.HD.Works.1967-1979.720p.BFI.WEB-DL.AAC2.0.H.264-Cinefeel.rar

Language(s):English
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The post Malcolm le Grice – Collected HD Works (1968) first appeared on Cinema of the World.