ngg_shortcode_0_placeholder<\/p>\n
SHOOT SHOOT SHOOT PROGRAM 2 This second glimpse at the first decade of the London Film-Makers\u2019 Co-op anticipates some of the new directions that followed in later years. Short Film Series<\/em> is an open-ended set of observational pieces by Guy Sherwin, each the length of a 16mm film roll. Mike Dunford\u2019s Still Life with Pear<\/em> wittily deconstructs the act of filming, and John Smith constructs a word game of visual puns in Associations<\/em>. Finally, two double 16mm projection serve as examples of British expanded cinema: Gill Eatherley\u2019s understated feminist \u2018room film\u2019, and River Yar<\/em>, Raban & Welsby\u2019s majestic time-lapse study of a tidal river estuary.<\/p>\n Guy Sherwin, Short Film Series: Vermeer Frames\/Chimney\/Portrait with Parents\/Metronome, 1974-78, 16mm, b\/w, silent, 14 min<\/strong> SHOOT SHOOT SHOOT PROGRAM 2 Sunday 23 October 2016, at 6pm New York Anthology Film Archives This second glimpse at the first decade of the London Film-Makers\u2019 Co-op anticipates some of the new directions that followed in later years. Short Film Series is an open-ended set of observational pieces by Guy Sherwin, each the length […]<\/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":[159],"tags":[118],"class_list":["post-5587","post","type-post","status-publish","format-standard","hentry","category-shoot-shoot-shoot-2016","tag-shoot-shoot-shoot"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5587","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=5587"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5587\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5587"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5587"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5587"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSunday 23 October 2016, at 6pm
\nNew York Anthology Film Archives<\/strong><\/p>\n
\n Mike Dunford, Still Life with Pear, 1973, digital, b\/w, sound, 14 min<\/strong>
\n John Smith, Associations, 1975, 16mm, color, sound, 7 min<\/strong>
\n Gill Eatherley, Pan Film, 1972, 2 x 16mm, b\/w, silent, 8 min<\/strong>
\n Chris Welsby & William Raban, River Yar, 1972, 2 x 16mm, color, sound, 35 min<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"