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MATERIAL AS CONTENT: WILHELM HEIN & MALCOLM LE GRICE Wilhelm Hein & Malcolm Le Grice Screening and Conversation<\/strong><\/p>\n An informal discussion between Malcolm Le Grice and Wilhelm Hein on the origins and development of Materialist filmmaking, and the connections and common ground shared between British and German artists in the 1960s and 1970s. Each will show selections of their work from this formative period.<\/p>\n REPRODUCTIONS YES NO MAYBE MAYBENOT LITTLE DOG FOR ROGER
\nSaturday 20 May 2006, at 4pm
\nLondon Goethe Institute<\/strong><\/p>\n
\nW+B Hein, Germany, 1969, b\/w, sound, 28 min
\n<\/strong>Strips of 35mm photographic negatives are hand manipulated in a Moviola editing machine and shot from its screen. The images are accompanied by a soundtrack by Christian Michelis. Hein considers this early anti-art film \u201ceven more concentrated than Rohfilm.\u201d<\/p>\n
\nMalcolm Le Grice, UK, 1967, b\/w, silent, 8 min
\n<\/strong>\u201cA film that makes its experience through specific cutting devices in the printing and processing technique, which mainly involved certain kinds of positive-negative superimposition.\u201d<\/p>\n
\nMalcolm Le Grice, UK, 1967, b\/w, sound, 12 min
\n<\/strong>Le Grice\u2019s early Materialist project was created by pulling 9.5mm home movie footage through the 16mm printer. In projection, the photographic images become difficult to read and the primary content becomes the film strip itself.<\/p>\n