{"id":3317,"date":"2002-09-04T19:30:57","date_gmt":"2002-09-04T18:30:57","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=3317"},"modified":"2018-01-25T15:01:00","modified_gmt":"2018-01-25T15:01:00","slug":"pip-chodorov","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2002\/09\/04\/pip-chodorov\/","title":{"rendered":"Pip Chodorov and The Spools of Paris"},"content":{"rendered":"<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><strong>PIP CHODOROV AND THE SPOOLS OF PARIS<br \/>\nWednesday 4 September 2002, at 7:30pm<\/strong><br \/>\n<strong> London The Photographers&#8217; Gallery<\/strong><\/p>\n<p>Pip Chodorov, filmmaker and director of the video label Re:Voir will present his selection of recent films from France and report on the Paris scene, which is alive with active publishers, distributors, screenings and independent groups. The programme will feature work made at L\u2019Abominable and MTK, two collective laboratories, and includes films by Fr\u00e9d\u00e9rique Devaux, Rose Lowder and Nicolas Rey.<\/p>\n<p><strong>Pip Chodorov, Num\u00e9ro 4, France, 1990, colour, sound, 4 min (18fps)<\/strong><br \/>\n<strong>Mahine Rouhi, Ptkho, France, 2000, b\/w, sound, 7 min<\/strong><br \/>\n<strong>Stefano Canapa, Promenaux, France, 2001, b\/w, sound, 6 min<\/strong><br \/>\n<strong>Colas Ricard, Tandem, France, 2001, colour, sound, 6 min<\/strong><br \/>\n<strong>Nicolas Rey, Terminus for You, France, 1996, b\/w, sound, 9 min<\/strong><br \/>\n<strong>Marcelle Thirache, L\u2019Arbre Bleu, France, 2001, colour, silent, 4 min (18fps)<\/strong><br \/>\n<strong>Fr\u00e9d\u00e9rique Devaux, Logomagie, France, 1999, colour, sound, 4 min<\/strong><br \/>\n<strong>Rose Lowder, Les Coquelicots, France, 2000, colour, silent, 3 min (18fps)<\/strong><br \/>\n<strong>Othello Vilgarde, Terrae, France, 2001, b\/w, sound, 10 min<\/strong><br \/>\n<strong>Dominik Lange, Chrysalides en explosion, France, 2001, colour, sound-on-cd, 17 min<\/strong><\/p>\n<p>\u201cIn these new lyric works and optical printer films, contemporary filmmakers continue to walk through the world and report what they see, and how they see. As <em>Pthko<\/em> shows us, some of the films are misleadingly abstract. <em>Promenaux<\/em> takes us through Paris, its jazz, its streets, its train tracks. In <em>Tandem<\/em>, train tracks become a metaphor for the film strip. <em>Terminus for You<\/em> continues the analogy in the Paris metro, its moving sidewalks, its regularly spaced posters and its animated characters carrying the metaphor, until the decomposition of the film material itself reminds us that all is illusory, all is grain and light. <em>Terminus For You<\/em>, <em>L\u2019Arbre Bleu<\/em> and <em>Logomagie<\/em> are all worked by hand on the emulsion, whereas <em>Num\u00e9ro 4<\/em> and the last three films, <em>Poppies<\/em>, <em>Terrae<\/em> and <em>Chrysalides<\/em> use the movie camera as a still camera, flickering between different stills of natural forms, proving once again that movement is not created in the film but in the brain.\u201d (Pip Chodorov, 2002)<\/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":[110],"tags":[],"class_list":["post-3317","post","type-post","status-publish","format-standard","hentry","category-infinite-projection"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3317","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=3317"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3317\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=3317"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=3317"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=3317"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}