{"id":1234,"date":"2001-11-17T23:00:44","date_gmt":"2001-11-17T23:00:44","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1234"},"modified":"2018-01-25T15:01:24","modified_gmt":"2018-01-25T15:01:24","slug":"personal-perception","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2001\/11\/17\/personal-perception\/","title":{"rendered":"Personal Perception"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>PERSONAL PERCEPTION<br \/>\nSaturday 17 November 2001, at 11pm<br \/>\nLondon National Film Theatre NFT3<\/b><\/p>\n<p>The independent, privately produced film offers a valuable opportunity to explore personal viewpoints on life and the three filmmakers in this programme investigate this possibility in unique and unconventional ways. Nathaniel Dorsky comments that \u201cthe underlying motivation is the delicate reveal of the transparency of presence, our tender mystery midst the elaborate unfolding of the tree of life\u201d. His new film <i>Arbor Vitae<\/i> is a delicate reflection on the relationships between humanity and nature. By contrast, Heinz Emigholz combines dramatic and documentary segments in a cool and controlled manner. The <i>Miscellanea<\/i> series consists of studies of art and architecture shot between 1988-97 and form part of the ongoing film cycle <i>Photography and Beyond<\/i>. The electro-acoustic composer Andr\u00e9 Almur\u00f3 began to make films in his 50s and has lately developed a singular style of \u2018haptic\u2019 filmmaking in which he chronicles his personal erotic encounters. Working in 8mm, he uses pixillation, slow motion and single-framing to crystallise a unique approach to light and the body, which is accompanied by expansive electronic sound.<\/p>\n<p><b>Andr\u00e9 Almur\u00f3, Entelechie, <b>France, <\/b>2000, 20 min<br \/>\n<\/b><b>Nathaniel Dorsky, Arbor Vitae, USA, 2000, 28 min<br \/>\nHeinz Emigholz, Miscellanea (I), Germany, 1998-2000, 20 min<br \/>\nHeinz Emigholz, Miscellanea (II), Germany, 1998-2000, 19 min<\/b><\/p>\n<p><i>Also screening: Sunday 18 November 2001, at 12pm NFT3<\/i><\/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":[47],"tags":[9],"class_list":["post-1234","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2001","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1234","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=1234"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1234\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1234"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1234"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}