ngg_shortcode_0_placeholder<\/p>\n
ROBERT NELSON: RAN WITH THE MOVIE CAMERA 5 Robert Nelson, Worldly Woman, USA, 1973, 16mm, 7 min<\/strong> Robert Nelson, Curious Native Customs, USA, 1985\/1999, 16mm, 8 min<\/strong> Robert Nelson, Rest In Pieces, USA, 1970-74\/2003, 16mm, 8 min<\/strong> Robert Nelson, Oh Dem Watermelons, USA, 1965, 16mm, 11 min<\/strong> Robert Nelson, 199 L. la, USA, 1989, video, 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-4264","post","type-post","status-publish","format-standard","hentry","category-robert-nelson"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4264","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=4264"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4264\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=4264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=4264"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=4264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nTuesday 9 May 2006, at 12:30pm<\/strong>
\nInternational Short Film Festival Oberhausen<\/strong><\/p>\n
\nA sort of revolutionary triptych. A devotional painting to all things that spin. (MT)<\/p>\n
\nA mind-boggling mixture of found, educational and outtake footage which seems to contain the precious residue of years of filmmaking. (MW)
\n\u201cIt was like my muse had fainted … but I didn\u2019t care. Why make a film? Why not? I didn\u2019t care. The only dim curiosity was wondering what such a careless work would look like? Funky. Looks like a beatnik work.\u201d (RAN)<\/p>\n
\n\u201cFor several years, Paul Marioni earned his living straightening bent automobile frames. In 1970, in a departing-the-trade ceremony, he used his tools to break an automobile in two. I thought that the ceremony would be interesting and I wanted to film it. (He was going to do it even if no one came.) The moment that the car bursts is over so quickly that it\u2019s a bit anti-climactic and so I wanted to put something \u2018meditative\u2019 with it … That is, to make a poem out of it.\u201d (RAN)<\/p>\n
\nMade for the Mime Troupe\u2019s performance \u201cA Minstrel Show (or Civil Rights in a Cracker Barrel)\u201d, the film challenges racism by presenting absurdly exaggerated stereotypes. The hapless fruits are mindlessly pulped, before turning on their aggressors. Now, follow the bouncing watermelon \u2026 (MW)
\n\u201cOriginal idea and inspiration from La Course aux Potirons<\/em> (1907) by Louis Feuillade.\u201d (RAN)<\/p>\n
\nWiley & Henderson are seen playing songs in a studio as the tape meanders around their immediate environment, playing with the viewer via a series of musical and visual jokes. One of Nelson\u2019s few video works, this piece is another demonstration of the camaraderie between long-term friends and collaborators. (MW)<\/p>\n","protected":false},"excerpt":{"rendered":"