Line Describing a Cone – Projection Specifications

The following info is copied across from Canyon Cinema’s website: Line Describing a Cone, Anthony McCall | 1973 | 30 minutes | B&W | SILENT Rental Format(s): 16mm film, 24 fps Note: Special projection requirements – see below. Line describing a cone is what I term a solid light film. It is dealing with the …

Performance Matters Journal: Re-enactment of Malcolm Le Grice’s “Horror Film 1”

Performance Matters is a new journal published by the Simon Fraser University (Canada). The journal is especially interested in: work that focuses on the materiality and the consequentiality of performance: the objects that comprise it, the labour that goes into it, the physical sites that give shape to it, as well as the effects it …

Hollow in the Paper

Teaching and Learning Cinema is contributing to this exhibition in Hobart. At the invitation of curator Bec Stevens, we’ve sent an installation based on our work with the project (Wo)man with Mirror (2009-) – our re-enactment of Guy Sherwin’s Man with Mirror (1976-). We’ve enjoyed our discussions with Bec, in the lead up to this …

Lucas Ihlein: Mediating Experience in Expanded Cinema Re-enactment

The following is a contribution to ISEA 2013 – presented as part of this panel session. The panel, organised by Brogan Bunt, was set up to address the broad notion of mediation – and to respond to his assertion that “artists themselves, in their practices, have begun to move fluidly between paradigms.” “How,” Brogan asks, …

After meeting Malcolm – top of mind

Notes in response to specific questions have been started by Lucas and we will continue them but it seems important to capture what’s stayed at the top of the mind after visiting Malcolm: – we covered a lot of ground! – Malcolm says that when he made these performance film works (eg Horror Film, Gross …

MLG Questions 01: Breath

When we started thinking about re-enacting Malcolm Le Grice’s Horror Film 1 a year ago, several questions popped up straight away. These were mainly technical issues about the source material for the three colour projections, and how the audio is produced while the piece is being performed. Some of these questions were answered by Malcolm …