Normal Vision. Malcolm Le Grice - ACE132.4

Drummond asks about Academic Still Life (1977) and its art historical references. Le Grice says that in Cézanne’s works, small movements of the spectator’s head change the image of the thing seen. He thinks that Academic Still Life, like much of Cézanne’s work is "a product of the act of perception". Extract. Le Grice’s VO describing his work as being concerned with reality, and his later films reflect a "very extreme reality", showing the mundane realities of life. Extracts from Time and Motion Study (1978). Le Grice VO says he’s also concerned with breaking illusion, and editing is the most important element in this. The film uses two cameras and there is a slight overlap between the two, thus eliminating any break in time, and suggesting that there is no significant difference between the act of making a film and the activities shown in it. Le Grice talks about the formal difference between his kind of work and conventional film-making, and believe that he can best make a difference through education. Activities at St Martin’s School of Art; Le Grice’s film theory class. Drummond and Le Grice talk about Finnegan’s Chin (1981), made at St Martin’s with the participation of some of the students. The plans for the film, a "visual score" rather than a script. Le Grice describes the content. Extract. Drummond says it’s paradoxical that they are in a conventional television documentary. Le Grice says that virtually anything in an experimental film will be different to the sort of things seen on television. He believes television will have to show more experimental work. Credits.