{"id":1159,"date":"2003-11-01T16:00:14","date_gmt":"2003-11-01T16:00:14","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1159"},"modified":"2018-01-25T15:00:18","modified_gmt":"2018-01-25T15:00:18","slug":"light-traces","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2003\/11\/01\/light-traces\/","title":{"rendered":"Light Traces"},"content":{"rendered":"

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LIGHT TRACES
\n<\/b>Saturday 1 November 2003, at 4pm
\n<\/b>London National Film Theatre NFT3<\/b><\/p>\n

Julie Murray, Untitled (Light), USA, 2002, 5 min
\n<\/b>A night-time memorial to the World Trade Centre site and its \u2018towers of light\u2019.<\/p>\n

Guy Sherwin, Animal Studies, UK, 1998-2003, 25 min
\n<\/b>A series of meditations on nature and the animal kingdom, comprising both physical and metaphysical reflection. Each has the subtle, granular pulsing that makes it seem as though these could be the first rolls of film ever wrenched through a camera.<\/p>\n

Karl Kels, Prince Hotel, Germany, 1987-2003, 8 min
\n<\/b>A portrait of New York\u2019s Bowery and its time-warn occupants. Though no longer solely a refuge for alcoholics and the lost, some of those characters remain, and their world is revered by Kels\u2019 camera, displaying humour and a deep sense of camaraderie.<\/p>\n

Jimmy Robert, Embers, UK, 2003, 7 min
\n<\/b>Using the modest Super-8 gauge to film his immediate personal surroundings, Jimmy Robert has developed a profound personal style. Fleeting moments are combined in editing, evoking moods through the juxtaposition of images.<\/p>\n

Nathaniel Dorsky, The Visitation, USA, 2002, 18 min
\n<\/b>\u2018The Visitation<\/i> is a gradual unfolding, an arrival so to speak. I felt the necessity to describe an occurrence, not one specifically of time and place, but one of revelation in one\u2019s own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts.\u2019<\/p>\n

PROGRAMME NOTES<\/a>

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LIGHT TRACES
\n<\/b>Saturday 1 November 2003, at 4pm
\nLondon National Film Theatre NFT3<\/p>\n

UNTITLED (LIGHT)
\nJulie Murray, USA, 2002, colour, sound, 5 min
\n<\/b>A moving reflection on September 11, Untitled (Light)<\/i> finds beauty in minutiae, breaking down the skyward searchlights memorializing the fallen towers into a constellation of illuminated dust motes. \u2014Onion City Film Festival, 2003<\/p>\n

ANIMAL STUDIES
\nGuy Sherwin, UK 1998-2003, b\/w, silent, 25 min
\n<\/b>A variable set of perceptual studies on the inconsequential movements of animals. The films are made partly in the camera and partly in the printer, and most are derived from a single take. Fluctuations of light, geometry and time reveal what might be hidden in the photographic depths of the material. My filmic interest in animals is that they are unselfconscious, authentic, and don\u2019t act. This is part of an ongoing series of films which developed out of the Short Film Series<\/i>, and can be shown in any order or number, giving an openness of connection between images, ideas, thoughts, themes. \u2014Guy Sherwin<\/p>\n

PRINCE HOTEL
\nKarl Kels, Germany 1987-2003, b\/w, silent, 8 min
\n<\/b>In 1986 Kels received a fellowship that allowed him to study at Cooper Union in New York. During his stay there, Kels spent some six months at the Bowery in Lower Manhattan. He began hanging out with the less fortunate who eke out an existence in cheap hotels or on the street, and became friendly with many of them. In the lives of the mostly male alcoholics who survive on open camaraderie and cheap alcohol, he discovered a rich unstaged world, which he slowly started to film. Bowery \/ Fragment<\/i> [the working title for Prince Hotel<\/i>] is but a short fragment of what a final film on this subject could offer, yet it stands by itself and clearly bears the director\u2019s marks. Against the background of a run-down Prince Hotel we see men who pass time together, deliberately portrayed by Kels\u2019 clear eye for framing and detail, and yet whose acts and movements cannot be controlled. \u2014Miryam Van Lier, Millennium Film Journal<\/em><\/p>\n

EMBERS
\nJimmy Robert, UK, 2003, colour, silent, 7 min
\n<\/b>Using the modest super-8 gauge to film his immediate personal surroundings, Jimmy Robert has developed a profound personal style. Fleeting moments are combined in editing, evoking moods through the juxtaposition of images. \u2014Mark Webber<\/p>\n

THE VISITATION
\nNathaniel Dorsky, USA, 2002, colour, silent, 18 min
\n<\/b>The Visitation<\/i> is a gradual unfolding, an arrival so to speak. I felt the necessity to describe an occurrence, not one specifically of time and place, but one of revelation in one\u2019s own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts. \u2014Nathaniel Dorsky<\/p>\n

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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":[45],"tags":[9],"class_list":["post-1159","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2003","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1159","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=1159"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1159\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1159"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1159"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1159"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}