{"id":1245,"date":"2001-11-10T16:15:55","date_gmt":"2001-11-10T16:15:55","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1245"},"modified":"2018-01-26T11:45:28","modified_gmt":"2018-01-26T11:45:28","slug":"peter-kubelka-what-is-film-2","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2001\/11\/10\/peter-kubelka-what-is-film-2\/","title":{"rendered":"Peter Kubelka: What is Film 2"},"content":{"rendered":"<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>PETER KUBELKA: WHAT IS FILM? 2 <i><br \/>\n<\/i>Saturday 10 November 2001, at 4:15pm<i><br \/>\n<\/i>London National Film Theatre NFT3<\/b><\/p>\n<p><b>THE MATERIAL OF FILM: TOOL AND PERSONALITY<\/b><b><\/b><\/p>\n<p>\u201cFilm is a transparent sculpture. The material is servant and teacher. Form cannot be transferred and therefore content cannot be transferred. The event of Cinema is unique.\u201d<\/p>\n<p><i>Featuring selections from the following works:<\/i><\/p>\n<p><b>Emile Cohl, Le Cerceau Magique, France, 1908, 6m<br \/>\nLen Lye, Free Radicals, USA, 1958, 4m<br \/>\nStan Brakhage, Mothlight, USA, 1963, 3m<br \/>\nOwen Land (Formerly Known As George Landow), Film in which there Appear Sprocket Holes, Edge Lettering, Dirt Particles, etc., USA, 1965-66, 5m<br \/>\nKarin H\u00f6rler, Frisch, Germany, 1987, 2m<br \/>\nBruce Conner, Valse Triste, USA, 1979, 6m<br \/>\nFr\u00e8res Lumi\u00e8re, Voltiges, France, 1898, 1m<br \/>\nFr\u00e8res Lumi\u00e8re, Indochine, Enfants Anamites, France, 1898, 1m<br \/>\nFr\u00e8res Lumi\u00e8re, La Course en Sacs, France, 1898, 1m<br \/>\nStan Brakhage, Window Water Baby Moving, USA, 1962, 12m<br \/>\nPaul Sharits, T:O:U:C:H:I:N:G, USA, 1968, 12m<\/b><\/p>\n<p><i>The complete list of films in the repertory, and the themes covered, may be subject to spontaneous change during the course of the presentations.<\/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":[9,163,48],"class_list":["post-1245","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2001","tag-london-film-festival","tag-peter-kubelka","tag-what-is-film"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1245","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=1245"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1245\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1245"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1245"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}