ngg_shortcode_0_placeholder<\/p>\n
ANTHOLOGY FILM ARCHIVES AND ESSENTIAL CINEMA PROGRAMME 1 Maya Deren was at the forefront of a movement that revolutionised cinema by using portable 16mm equipment to reinvent film as an artistic medium that could be the vision of an individual working alone. The filmmakers associated with the New American Cinema invented radical new approaches to photography, soundtracks and editing to create works that remain vital a half-century later.<\/p>\n Maya Deren, Meshes of the Afternoon, 1943, 14 min<\/strong> ANTHOLOGY FILM ARCHIVES AND ESSENTIAL CINEMA PROGRAMME 1 Wednesday 9 January 2013, at 6:10pm London BFI Southbank NFT2 Maya Deren was at the forefront of a movement that revolutionised cinema by using portable 16mm equipment to reinvent film as an artistic medium that could be the vision of an individual working alone. The filmmakers associated […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[144,142],"tags":[],"class_list":["post-5150","post","type-post","status-publish","format-standard","hentry","category-anthology-film-archives","category-jonas-mekas"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5150","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=5150"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5150\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5150"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5150"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nWednesday 9 January 2013, at 6:10pm
\nLondon BFI Southbank NFT2<\/strong><\/p>\n
\n Peter Kubelka, Schwechater, 1958, 1 min<\/strong>
\n Bruce Conner, Cosmic Ray, 1961, 4 min<\/strong>
\n Marie Menken, Hurry! Hurry!, 1957, 3 min<\/strong>
\n Gregory Markopoulos, Ming Green, 1966, 7 min<\/strong>
\n Stan Brakhage, Reflections on Black, 1965, 12 min<\/strong>
\n Joseph Cornell (with Larry Jordan), The Midnight Party, c.1938\/1969, 4 min<\/strong>
\n Ken Jacobs, Blonde Cobra, 1963, 33 min<\/strong>
\n Bruce Baillie, Castro Street, 1966, 10 min<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"