Normal Vision. Malcolm Le Grice - ACE132.3

LeGrice and Drummond at the London Film-Makers Co-Op. Film-makers at work. Le Grice says he was heavily involved in the workshop. Having a purpose-built laboratory not only made a great difference to cost, but also enabled film-makers to transform the images on the film itself. Raw material for Berlin Horse (1970) in which Le Grice superimposed negative onto positive, employed colour filters, and superimposed coloured elements. Extract. Drummond and Le Grice talk VO about the form of the film taking precedence over its content. Le Grice talks VO about multi-screen projection. Berlin Horse in two-screen version. Le Grice VO talking about having rejected narrative as something which "drew spectators away from their own reality", and then doing away with the film image as well. Extract from version of film/performance Horror Film (1971). Le Grice VO describing the work and his purpose in making it. Le Grice says that in this and a few subsequent films (described by Drummond as "austere", he wanted the spectator to deal only with the presentation of the work itself. After this, he made a much more complex film based on Manet’s Le Dejeuner sur l’Herbe (1863), After Manet (1974), and using four cameras to produce multi-screen images. Le Grice points out that each of the four "actors" was also a film-maker and had charge of one of the cameras. Extracts. He talks about the different kinds of film-stock used and how the spectator responds to the difference between negative and positive images. Images from a still photograph piece based on After Manet.