{"id":1101,"date":"2002-11-12T14:00:57","date_gmt":"2002-11-12T14:00:57","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1101"},"modified":"2018-01-25T15:00:59","modified_gmt":"2018-01-25T15:00:59","slug":"natural-beauty","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2002\/11\/12\/natural-beauty\/","title":{"rendered":"Natural Beauty"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>NATURAL BEAUTY<br \/>\nTuesday 12 November 2002, at 2pm<br \/>\nLondon National Film Theatre NFT3<\/b><\/p>\n<p><b>Diane Kitchen, Wot the Ancient Sod, USA, 2001, 17 min<br \/>\n<\/b>\u2018As delicate in its observation as it is magnificent in its discoveries, <i>Wot the Ancient Sod<\/i> is a walk through the woods, a survey of intimate scrutiny alert to the unconsidered splendours of the colours, forms and spaces comprising our natural surroundings.\u2019 (Carl Bogner, Woodland Pattern Experimental Film Series)<\/p>\n<p><b>Rose Lowder, Bouquets 21-24, France, 2001, 6 min<br \/>\n<\/b>The <i>Bouquets<\/i> are constructed frame-by-frame, in camera, by alternating single images of specific pastoral locations. The images are clusters of perception, which build into improvised portraits of the flowers and vegetation at each site. Condensed moments of time and space form visual bouquets, planted on our retinas, blooming with rich colour and vitality.<\/p>\n<p><b>Rose Lowder, Voiliers et Coquelicots, France, 2001, 4 min<br \/>\n<\/b>In subtle optic wit, poppies and sailboats vie for our attention as they are juxtaposed in consecutive frames. \u2018Little is necessary for everything to appear differently. The date, the hour, the weather, the space\u2019s layout, one\u2019s glance or presence of mind \u2026 can make everything change\u2019.<\/p>\n<p><b>Emmanuel Lefrant, Underground, France, 2001, 8 min<br \/>\n<\/b>The secret forms of the emulsion are revealed in a hand-made film which suggests constantly evolving golden brown organic matter.<\/p>\n<p><b>Stan Brakhage, Micro Garden, USA, 2001, 3 min<br \/>\n<\/b>\u2018Red and ephemeral blue and purple plant shapes half-curled against a tan ground, which begins to flash white cracks in dried mud patterns. A flush of watery brightens the plant-skein into a variety of greens mixed into all other colours \u2013 all darkening into smeared mud-blacks with microscopic beseeming black \u2018splatters\u2019 (where mud-like cracks used to be).\u2019<\/p>\n<p><b>Stan Brakhage &amp; Phil Solomon, Seasons \u2026, USA, 1999-2002, 20 min<br \/>\n<\/b>Painted, etched and engraved by Brakhage, printed and edited by Solomon: two of America\u2019s finest film-makers unite to present a tour-de-force fusion of natural and chemical wonder. The world premiere of a long laboured masterpiece \u2018inspired by the colours and textures found in the woodcuts of Hokusai and Hiroshige, and the playful sense of forms dancing in space from the filmworks of Robert Breer and Len Lye.\u2019<\/p>\n<p><i>Repeat Screening: Wednesday 13 November 2002, at 4:15pm, London NFT3<\/i><\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[43],"tags":[9],"class_list":["post-1101","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2002","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1101","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1101"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1101\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1101"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}