What’s in the DNA capsule for ‘Horror Film 1’?

Raja and I met back in 2021 when I chaired a panel he was in at iPRES. Our session was online and we had time to chat beforehand. I’d read up about his paper on DNA storage. I knew something about this because I saw a great presentation about it from former National Film and …

What scholars of manuals have to say

As we finalise an article about the manual for Horror Film 1 and the potential to use DNA as a storage medium for the manual versions and additional components, we have gone looking for literature about manuals. I’ve learnt that making procedures is called ‘procedural discourse’. David Farkas writes about this back in 1999. It …

Let’s talk about expanded cinema – Poster session SEAPAVAA 2023

Dr Louise Curham from Curtin University’s iSchool starts a dialogue with audiovisual archivists of South East Asia about expanded cinema. Here’s the recording of this talk:   And here’s what I say (not quite identical but pretty close) Hi everyone. Thanks very much for inviting me to be part of SEAPAVAA 2023. I want to …

Horror Film 1 – Re-enactment in Progress at CCAS, Canberra

Oliver Thomas practicing Horror Film 1 at CCAS Between 23-28 June, the Teaching and Learning Cinema (Louise Curham and Lucas Ihlein) is in residence at Canberra Contemporary Artspace. We’re continuing on with the research we began last year in the UK, towards a re-enactment of Malcolm Le Grice’s Horror Film 1 (1971). We’re not sure …

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 …