ngg_shortcode_0_placeholder<\/p>\n
ROBERT NELSON: RAN WITH THE MOVIE CAMERA 4 Robert Nelson, King David, USA, 1970\/2002, 16mm, 9 min<\/strong> Robert Nelson, Hamlet Act, USA, 1982, 16mm, 22 min<\/strong> Robert Nelson, Suite California Stops and Passes: Part I, USA, 1976\/2003, 16mm, 35 min<\/strong> 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":[128],"tags":[],"class_list":["post-4258","post","type-post","status-publish","format-standard","hentry","category-robert-nelson"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4258","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=4258"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4258\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=4258"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=4258"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=4258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nMonday 8 May 2006, at 8pm<\/strong>
\n International Short Film Festival Oberhausen<\/strong><\/p>\n
\nPreserved by the Academy Film Archive
\nWhilst filming in a San Francisco park, Nelson and Henderson met street prophet \u2018King David\u2019, who proceeds to communicate some of his beliefs about life and religious mythology. (MW)<\/p>\n
\n\u201cHamlet Act<\/em> demonstrates what can be done when a film text is made to oppose a theatrical text, creating a new synthesis. The dialectic oppositions set up between film\/video, film\/theatre, video\/theatre, and film\/video\/theatre create a total transformation of Hamlet<\/em> from its pre-20th century signification system to a contemporary signification system. Hamlet, caught in the web of psychological forces is seen, through his position between film\/video\/theatre, as a metaphor for contemporary technology.\u201d (Owen Shapiro)<\/p>\n
\n\u201cA funky odyssey into both Nelson\u2019s personal history and that of his state. It has a quality of playfulness as Nelson experiments with varying juxtapositions of sounds and images. It is a carefully structured, painstaking work of much beauty and emotional impact that reaffirms Robert Nelson\u2019s gifts as a very personal, very venturesome filmmaker.\u201d (Kevin Thomas)<\/p>\n","protected":false},"excerpt":{"rendered":"