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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.
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.
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Autorenporträt
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.
Inhaltsangabe
Preface: The Colour of Time, Sean Cubitt Note on Editing and Sources Introduction Part I. HISTORY 1. 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 ARTISTS 4. 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. DEBATES 8. 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 THEORY 11. 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 THEORY 16. 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
Preface: The Colour of Time, Sean Cubitt Note on Editing and Sources Introduction Part I. HISTORY 1. 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 ARTISTS 4. 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. DEBATES 8. 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 THEORY 11. 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 THEORY 16. 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
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