<\/p>\n
SUBLIME PASSAGES
\n<\/strong>Saturday 23 October 2010, at 4pm
\nLondon BFI Southbank NFT3<\/p>\nSHUTTER
\nAlexi Manis, Canada, 2010, 16mm, colour, sound, 8 min
\n<\/strong>Shutter<\/em> tracks the rising sun, the lengthening shadows and the darkening day of a total solar eclipse. Shutter<\/em> is a formal exploration of the phenomenon of the sun eclipsing objects in the natural world. Inspired by footage of friend and amateur astronomer Andreas Gada\u2019s 16mm recording of the 1980 total solar eclipse, this work captures the beauty, complexity and terror of the shifting light that precedes and accompanies an eclipse. Shadow, focal variance and illumination of earth-bound nature conspire along the course to the incomparable moment of totality. (Alexi Manis)<\/p>\nDRIFTER
\nTimoleon Wilkins, USA 1996-2010, 16mm, colour, silent, 24 min
\n<\/strong>Drifter<\/em> is the title; it\u2019s essentially a collection (memoir) of footage dating back from 1996 to the present. The title, the theme, is drifting; mentally \/ physically. People who\u2019ve drifted into and out of my life, and the visual themes (clouds, snow, highways, trains, oceans) that (finally) tie all my various Bolex-Kodachrome escapades together. Soft movement across the screen. My own wanderlust is in there as well. (Timoleon Wilkins)<\/p>\nSHRIMP BOAT LOG
\nDavid Gatten, USA, 2010, 16mm, b\/w & colour, silent, 6 min
\n<\/strong>Shrimp Boat Log<\/em>, the first reel of the ongoing Continuous Quantities<\/em> series, contains 300 shots, 29 frames each, alternating between a notebook listing the names of shrimp boats that frequent the mouth of the Edisto River and images of these same boats. I started keeping track of these boats in 1994 when I first began visiting Seabrook Island, South Carolina, for family vacations. I\u2019ve returned to this spot many times since, making a series of underwater, cameraless films there (the What the Water Said<\/em> series), and always continuing to watch for the shrimp boats. I filmed these images during the summer and fall of 2006 and cut them \u2013 using Leonardo\u2019s Notebooks as guide \u2013 over the next several years. (David Gatten)
\nwww.davidgattenfilm.com<\/p>\nBLUE MANTLE
\nRebecca Meyers, USA, 2010, 16mm, colour, sound, 35 min
\n<\/strong>blue mantle<\/em> was shot along the Massachusetts coast, on Cape Cod and Cape Ann and around the South Shore. Images include paintings by Winslow Homer and illustrations from Harper\u2019s Weekly<\/em> accounts of disasters and rescues at sea. The main musical sources are Debussy\u2019s \u2018La mer\u2019, Wagner\u2019s \u2018The Flying Dutchman\u2019 and \u2018Lowlands,\u2019 a sea shanty. Texts range from Henry Wadsworth Longfellow to Thoreau to Melville to various other 19th-century (and earlier) writings. The only cinematic representations supplementing my own footage are Edison\u2019s 1900 A Storm at Sea<\/em> and a model-size Eidophusikon (a pre-cinematic 18th-century theatrical spectacle described in its day as \u2018moving pictures, representing phenomena of nature\u2019). The 40 miles of sea between Chatham and Provincetown came to be called an ocean graveyard due to the thousands of wrecks that occurred there during a time when sea-going vessels were the primary means for \u2018bringing man nearer unto man\u2019 (Longfellow). Today, among the not-invisible memorials and markers in Gloucester and along the cape of maritime histories, one can also find the remains of The Frances, a ship sunk in a December gale in 1872 and still visible at low tide at a popular Truro beach (most people walking by assume it is some kind of strange rock formation). US Life Saving Service men dragged the boat from the bay across the Cape to the outer beach and rescued all aboard. The captain died several days later from the effects of exposure and is buried in Truro. There are hundreds of stories like this one and many more with much more tragic outcomes. Cape Cod was also the site of two major developments in transatlantic communication: the termination point of \u2018le Direct\u2019, a 3200-mile submarine telegraph cable laid between France and Massachusetts in 1869, and the location of the first US wireless transmitting station established by inventor Guglielmo Marconi at the turn of the 20th century. Such historic moments of human progress striving to overcome nature\u2019s vastness stir the imagination. (Rebecca Meyers)<\/p>\nTRAVELLING FIELDS
\nInger Lise Hansen, Norway, 2009, 35mm, colour, sound, 9 min
\n<\/strong>Shot in Northern Russia, Travelling Fields<\/em> is the third film in Inger Lise Hansen\u2019s inverted perspective trilogy, following Proximity<\/em> (2006) and Parallax<\/em> (2009). The films focus on a particular phenomenon occurring through a change of perspective and animated camera movements, as a way of redefining a place and its geography. In these films sections of the landscape are documented by moving the camera one frame at the time, along a track. As each of the earlier films focus on one particular location, Travelling Fields<\/em> offers a more complex viewing as it moves between different topographies and locations in the Kola Peninsula.<\/p>\nBack to top<\/a><\/p>\n<\/div>\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-1629","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\/1629","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=1629"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1629\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1629"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1629"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1629"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}