{"id":848,"date":"2004-09-11T17:00:21","date_gmt":"2004-09-11T16:00:21","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=848"},"modified":"2018-01-25T14:58:57","modified_gmt":"2018-01-25T14:58:57","slug":"multi-screen-films","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2004\/09\/11\/multi-screen-films\/","title":{"rendered":"Multi-Screen Films"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>EXPANDED CINEMA: MULTI-SCREEN FILMS<br \/>\nSaturday 11 September 2004, at 5pm<br \/>\nDortmund PhoenixHalle<\/b><\/p>\n<p>Abstract colour films for 2 or 3 adjacent projectors. <i>Liminal Minimal<\/i> is a performance for mobile projectors using red, green and blue colour signals. <i>#5<\/i> and <i>Hand Grenade<\/i> are both 3-screen action paintings produced by trails of light. In <i>Dream Displacement<\/i>, Sharits manipulates strips of single-frame colour fields, creating a soporific, cinematic meditation.<\/p>\n<p><b>Christian Lebrat, Liminal Minimal, 1977, c.19 min, 2 screen performance<br \/>\nJoost Rekveld, #5 (Variation 1), 1994, 6 min, 3 screen film<br \/>\nGill Eatherley, Hand Grenade, 1971, 6 min, 3 screen film<br \/>\nPaul Sharits, Dream Displacement, 1976, 24 min, 2 screen film<\/b><\/p>\n<a onclick=\"wpex_toggle(1811320796, 'Read more', 'Read less'); return false;\" class=\"wpex-link\" id=\"wpexlink1811320796\" href=\"#\">Read more<\/a><div class=\"wpex_div\" id=\"wpex1811320796\" style=\"display: none;\"><\/p>\n<p><b>EXPANDED CINEMA: MULTI-SCREEN FILMS<br \/>\n<\/b>Saturday 11 September 2004, at 5pm<br \/>\nDortmund PhoenixHalle<\/p>\n<p><b>LIMINAL MINIMAL<br \/>\nChristian Lebrat, France, 1977, 16mm, colour, silent, c.19 min, 2 screen performance<\/b><\/p>\n<p><strong>#5 (VARIATION 1)<\/strong><br \/>\n<strong> Joost Rekveld, Netherlands, 1994, 16mm, colour, silent, 6 min, 3 screen film<\/strong><\/p>\n<p><strong>HAND GRENADE<\/strong><br \/>\n<strong> Gill Eatherley, UK, 1971, 16mm, colour, sound, 6 min, 3 screen film<\/strong><\/p>\n<p><strong>DREAM DISPLACEMENT<\/strong><br \/>\n<strong> Paul Sharits, USA, 1976, 16mm, colour, sound-on-tape, 24 min, 2 screen film<\/strong><\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n<p><\/div>\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":[31],"tags":[32,11],"class_list":["post-848","post","type-post","status-publish","format-standard","hentry","category-expanded-cinema-2004","tag-dortmund","tag-expanded-cinema"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/848","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=848"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/848\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=848"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=848"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=848"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}