{"id":1305,"date":"2007-04-15T21:30:45","date_gmt":"2007-04-15T20:30:45","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1305"},"modified":"2018-01-25T14:55:21","modified_gmt":"2018-01-25T14:55:21","slug":"swingeing-london-3","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2007\/04\/15\/swingeing-london-3\/","title":{"rendered":"Swingeing London 3"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><strong>SWINGEING LONDON: 3<br \/>\nSunday 15 April 2007, at 9:30pm<br \/>\nFilmhuis Den Haag <\/strong><\/p>\n<p><strong>MARE\u2019S TAIL<br \/>\nDavid Larcher, UK, 1969, 16mm, colour, sound, 143 min<br \/>\n<\/strong>An extended, personal journey which, through an accumulation of visual information, builds into a treatise on the experience of seeing. Its loose, indefinable structure explores new possibilities for perception and narrative. Reinforcing the idea of the mythopoeic discourse and the historically romantic view of the artist-filmmaker, <em>Mare\u2019s Tail<\/em> is a legend, consisting of layers of sounds and images that reveal each other over an extended period. It\u2019s a personal vision, an aggregation of experience, memories and moments overlaid with indecipherable intonations and altered musics. The collected footage is extensively manipulated, through refilming, superimposition or chemical treatment. The film does not demand constant attention: the viewer may slip in and out as it runs its course, though persistence is rewarded by experience after the full projection has been endured.<\/p>\n<p>\u201c<em>Mare\u2019s Tail<\/em> is an epic flight into inner space. It is a two-and-a-half-hour visual accumulation in colour, the filmmaker\u2019s personal odyssey, which becomes the odyssey of each of us. It is a man\u2019s life transposed into a visual realm, a realm of spirits and demons, which unravel as mystical totalities until reality fragments. Every movement begins a journey. There are spots before your eyes, as when you look at the sun that flames and burns. We look at distant moving forms and flash through them. We drift through suns; a piece of earth phases over the moon. A face, your face, his face, a face that looks and splits into shapes that form new shapes that we rediscover as tiny monolithic monuments. A profile as a full face. The moon again, the flesh, the child, the room and the waves become part of a hieroglyphic language \u2026 <em>Mare\u2019s Tail<\/em> is an important film because it expresses life. It follows Paul Klee\u2019s idea that a visually expressive piece adds \u2018more spirit to the seen\u2019 and also \u2018makes secret visions visible\u2019. Like other serious films and works of art, it keeps on seeking and seeing, as the filmmaker does, as the artist does. It follows the transience of life and nature, studying things closely, moving into vast space, coming in close again. The course it follows is profoundly real and profoundly personal: Larcher\u2019s trip becomes our trip to experience. It cannot be watched impatiently, with expectation; it is no good looking for generalization, condensation, complication or implication.\u201d (Stephen Dwoskin, Film Is, 1975)<\/p>\n<p><em>Also Screening: Thursday 19 April 2007, at 8:30pm<\/em><\/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":[50],"tags":[],"class_list":["post-1305","post","type-post","status-publish","format-standard","hentry","category-swingeing-london"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1305","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=1305"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1305\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}