Experimental Cinema in the Digital Age
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Table of Contents

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

About the Author

Malcolm Le Grice is a film-maker whose works have featured in major international exhibitions and, like Berlin Horse, Sketches for a Sensual Philosophy and Chronos Fragmented, been shown on television. He is currently Professor and Head of Research at Central St Martins College of Art and Design in London.

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