ngg_shortcode_0_placeholder<\/p>\n
SHADOW CUTS Alternately consumed by darkness and blinded by the light, Mickey and Pluto are caught in an eternal embrace by a film that refuses to end. In his films and digital works, Martin Arnold uses intense repetition or subtle substitution to reveal subliminal nuances beneath the surface of pre-existing footage.<\/p>\n SHADOW CUTS Martin Arnold achieved international recognition with a trilogy of 16mm films including pi\u00e8ce touch\u00e9e<\/em> (1989), passage \u00e1 l\u2019acte<\/em> (1993) and Alone. Life Wastes Andy Hardy<\/em> (1998). In recent years, he has produced and directed film installations in digital formats, such as Deanimated \u2013 The Invisible Ghost<\/em> (2002), Silent Winds<\/em> (2005) or Coverversion<\/em> (2008). Martin Arnold is represented by Galerie Martin Janda, Vienna, and his films are distributed by Sixpackfilm and Lightcone.<\/p>\n","protected":false},"excerpt":{"rendered":" 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":[59],"tags":[9],"class_list":["post-1617","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2010","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1617","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=1617"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1617\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSunday 24 October 2010, from 12-7pm
\nLondon BFI Southbank Studio<\/strong><\/p>\n
\nMartin Arnold, Austria, 2010, video, colour, sound, 4 min (continuous loop)
\n<\/strong>Shadow Cuts<\/em> observes the happy end of a cartoon film by rewinding it. Depicted by flickering images, the eyes of Mickey and his companion Pluto are gradually getting disentangled from the characters, sometimes the eyes \u2013 or the characters \u2013 even disappear completely. Temporary blind characters on the screen are faced by temporary blind viewers, whose perception fractures in the dark phases of the projection. (Martin Arnold)<\/p>\n