Castle One

An expanded film piece, where the film is interrupted by random flashes from a light bulb which is hung in front of the screen.

The light bulb was a Brechtian device to make the spectator aware of himself. I dont like to think of an audience in the mass, but of the individual observer and his behaviour . What he goes through while he watches is what the film is about. Im interested in the way the individual constructs variety from his perceptual intake. – Malcolm Le Grice , Films and Filming, February 1971

… totally Kafkaesque, but also filmically completely different from anyone else because of the rawness. The Americans are always talking about rawness, but its never raw. When the English talk about raw, they dont just talk about it, it really is raw – its grey, its rainy, its grainy, you can hardly see whats there. The material really is there at the same time as the image. With the Germans, its a high-class image of material, optically reproduced and glossy. The Americans are half-way there, but the English stuff looked like it really was home-made, artisanal, and yet amazingly structured. And I certainly thought Castle One was the most powerful film Id seen, ever… – Peter Gidal , interview with Mark Webber, 2001br //p/br a href =”http://www.luxonline.org.uk/history/1960-1969/castle_1.html”>Click here to read James Harding essay on Castle One.