Experimental Cinema in the Digital Age

Informationen zum Autor Peter Kardia is widely recognised as a radical and influential teacher at both Saint Martins and the Royal College during the 60s and 70s, and his essay on how we should be approaching art and education will be central to the book. Hester Wesley has researched and written on Peter's influence on art education and his teaching at Saint Martins and the Royal College, placing it into wider context of art education generally. The last essay will be by Malcolm Le Grice (art historian) on the influence of the art teacher and art schools in history on the artist. The introduction is by Roderick Coyne who is an artist and who also taught at Saint Martins for 10 years. Klappentext Michael Le Grice, a pioneer of 'structural film' in the 1970s and whose first video and computer works were exhibited in the late 1960s, provides a collection of his most notable essays. The essays shed light on the work of other artists and film-makers and documents a period, especially the 70s, when artists' film was at the centre of polemical debate about the nature of avant-garde and the future of radical or experimental film. The book contributes to the contemporary debates about film, video, art and new technology. Zusammenfassung Michael Le Grice, a pioneer of 'structural film' in the 1970s and whose first video and computer works were exhibited in the late 1960s, provides a collection of his most notable essays. The essays shed light on the work of other artists and film-makers and documents a period, especially the 70s, when artists' film was at the centre of polemical debate about the nature of avant-garde and the future of radical or experimental film. The book contributes to the contemporary debates about film, video, art and new technology. Inhaltsverzeichnis Preface: The Colour of Time, Sean Cubitt Note on Editing and SourcesIntroductionPart I. HISTORY1. Thoughts on Recent 'Underground' Film [1972]2. Presenting an Avant-Garde Film in London [1974]3. The History We Need [1979]Part II. ON OTHER ARTISTS4. On Léger, Vertov and The Flicker Film [1977]5. Kurt Kren [1975]6. Some Introductory Thoughts on Gidal's Films and Theory [1979]7. Takahiko Iimura - Getting the Measure of Time [1998]Part III. DEBATES8. Stan Brakhage and Malcolm Le Grice Debate, Stan Brakhage and Malcolm Le Grice [1978]9. Letters from Gidal and Le Grice, Peter Gidal and Malcolm Le Grice [1978]10. Narrative Illustion vs. Structural Realism, Malcolm Le Grice and P. Adams Sitney [1977]Part IV. GENERAL THEORY11. Real TIME/SPACE [1972]12. Material, Materiality, Materialism [1978]13. Problematising the Spectator's Placement in Film [1981]14. Towards Temporal Economy [1980]15. Cinemology [1982]Part V. DIGITAL THEORY16. Outline for a Theory of the Development of Television [1970]17. Computer Film as Film Art [1974]18. The Implication of Digital Systems for Experimental Film Theory [1994]19. Kismet, Protagony and the Zap Splat Factor [1993]20. The Chronos Project [1995]21. Colour Abstraction - Painting - Film - Digital Media [1995]22. Mapping in Multi-Space - Expanded Cinema to Virtuality [1996]23. A Non-Linear Tradition - Experimental Film and Digital Camera [1997]24. Art in the Land of Hydra-media [1998]25. Digital Cinema and Experimental Film - Continuities and Discontinuities [1999]Index...

About the author

Malcolm Le Grice is a film-maker whose works have featured in major international exhibitions and, like Berlin Horse, Sketches for a Sensual Philosophy and Chronos Fragmented, been shown on television. He is currently Professor and Head of Research at Central St Martins College of Art and Design in London.

Product details

• Authors: Malcolm Le Grice, Malcolm Le Grice
• Publisher: British Film Institute
• Languages: English
• Product format: Hardback
• Released: 01.01.2002
• EAN: 9780851708720
• ISBN: 978-0-85170-872-0
• No. of pages: 352
• Series: BFI Film Classics; BFI Film Classics
• Subject: Humanities, art, music > Art > Theatre, ballet