Abstract Cinema - ACE232.7

Malcolm Le Grice believes that abstract cinema is less to do with bringing ideas from painting into cinema or non-representational images and more about dealing with time. Extract from Ballet Mécanique (1924), Fernand Léger. Le Grice on the rejection of a narrative structure. Processed images of him using an Atari computer programme to produce a film. Extract from Digital Still Life (1989), Malcolm Le Grice, part Le Grice VO. Le Grice talking about the work of Kurt Kren. Extract from 15/67 TV (1967), part Le Grice VO. Le Grice on Viking Eggerling (with still) working with a musical model but concerned with organising time. Extract from Diagonal Symphony [Symphonie Diagonale] (1925), Viking Eggerling. Le Grice VO. Le Grice describes Eggeling’s work as "programmable" on a computer because the film-maker was "looking for a logic". Caption: "Seeking a parallel between the play of colour and musical tones has been a recurring artistic theme. ARBITRARY LOGIC takes up this tradition generating both sound and image by a programme written for a small home computer." Extract from Arbitrary Logic (1989), Le Grice VO. Le Grice describing this work as being in the tradition of the light organ. Extract from Mobilcolor – Projector, Le Grice VO. Extract from Arbitrary Logic, "totally synthesised".