<\/p>\n
BREAKING THE FRAME
\n<\/strong>Wednesday 10 October 2012, at 8pm
\nLondon ICA Cinema 1<\/p>\nBREAKING THE FRAME<\/strong>
\n Marielle Nitoslawska, Canada, 2012, HD video, colour, sound, 100 min
\n<\/strong>Breaking the Frame<\/em> is a comprehensive portrait of the ground-breaking multidisciplinary artist Carolee Schneemann. A central figure in twentieth century avant-garde movements, Schneemann expanded the definition of art and art practice to include discourses on the body, sexuality and gender. A pioneer of performance art, she is also an accomplished painter, poet, installation artist and filmmaker.<\/p>\nGiving Schneemann space to tell her own story and share her thoughts, recollections and mediations on her life and work, Nitoslawska traces an intimate course though the artist\u2019s iconic oeuvre. The film demonstrates the diversity of her enormous artistic achievement and opens the work to renewed contemplation. A critical meditation on the relation of art to the physical, domestic and conceptual aspects of daily life as well as the structure and attributes of memory, Breaking the Frame<\/em> itself pushes the formal boundaries of documentary filmmaking.<\/p>\nEschewing standard chronologies, the film couples descriptive and self-reflexive modalities as it interweaves aesthetic and political reflection on the feminist body as a site for reframing art\u2019s histories. Deftly weaving archival images with contemporary footage of Schneemann\u2019s journals, paintings and rural home, Nitoslawska captures the multi-dimensionality of the artist\u2019s work. By highlighting the sheen of photographic prints, the fibres of diary pages and the gloss of wet paint, she provides a textured mise-en-scene that resonates with Schneemann\u2019s corporeal focus. The visual composition of the film is complemented by a soundtrack replete with the music of James Tenney. The late composer was Schneemann\u2019s companion and collaborator for many years, and the two remained close friends until his death in 2006.<\/p>\n
(Images Festival)<\/p>\n
I first saw Schneemann\u2019s Fuses<\/em> in my early twenties. While researching my film Bad Girl<\/em>, I began dreaming up a sequel of sorts, with a focus on Schneemann. We met while she was renting a Montr\u00e9al studio and discussed a possible film. When I visited her in New York, I knew it would happen. Her house, garden and pond were innately cinematographic in the setting sun and rising magic hour. I began digging into her well of archives, realizing it perhaps has no bottom. So began Breaking The Frame<\/em>. The greatest asset of independent filmmaking is time. This process lasts years; a way of working that isn\u2019t practical but yields irreplaceable authenticity. You observe, collect and wonder how to evoke the \u2018past\u2019 in the flow of cinema\u2019s ever-virtual \u2018present\u2019. You displace space and fragment time. You listen. You follow the mind\u2019s eye.<\/p>\n(Marielle Nitoslawska)<\/p>\n
Back 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":[61],"tags":[9],"class_list":["post-1752","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2012","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1752","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=1752"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1752\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1752"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1752"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1752"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}