{"id":878,"date":"2004-09-18T15:30:39","date_gmt":"2004-09-18T14:30:39","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=878"},"modified":"2018-01-25T14:58:29","modified_gmt":"2018-01-25T14:58:29","slug":"double-vision","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2004\/09\/18\/double-vision\/","title":{"rendered":"Double Vision"},"content":{"rendered":"

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EXPANDED CINEMA: DOUBLE VISION
\nSaturday 18 September 2004, at 3:30pm
\nDortmund PhoenixHalle<\/b><\/p>\n

Using real time and time-lapse photography, Raban & Welsby each made films that take a systematic approach to temporal and spatial concerns, often in regard to landscape and environmental conditions. Play<\/i> choreographs the movements of three pairs of twins, seen from the filmmakers\u2019 window. Shot simultaneously with two cameras, the projected image appears to reconstruct real space. Gill Eatherley\u2019s Pan Film<\/i> tracks across the personal space of her room, contrasting the positive and negative image.<\/p>\n

William Raban & Chris Welsby, River Yar, 1971-72, 35 min, 2 screen film
\nChris Welsby, Wind Vane, 1971, 8 min, 2 screen film
\nSally Potter, Play, 1971, 10 min, 2 screen film
\nWilliam Raban, Angles of Incidence, 1973, 12 min, 2 screen film
\nGill Eatherley, Pan Film, 1972, 8 min, 3 screen film<\/b><\/p>\nRead more<\/a>

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EXPANDED CINEMA: DOUBLE VISION
\n<\/b>Saturday 18 September 2004, at 3:30pm
\nDortmund PhoenixHalle<\/p>\n

RIVER YAR
\nWilliam Raban & Chris Welsby, River Yar, UK, 1971-72, 16mm, colour, sound, 35 min, 2 screen film<\/b><\/p>\n

WIND VANE
\nChris Welsby, Wind Vane, UK, 1971, 16mm, colour, sound, 8 min, 2 screen film<\/b><\/p>\n

PLAY
\nSally Potter, Play, UK, 1971, 16mm, b\/w & colour, silent, 10 min, 2 screen film<\/b><\/p>\n

ANGLES OF INCIDENCE
\nWilliam Raban, Angles of Incidence, UK, 1973, 16mm, colour, silent, 12 min, 2 screen film<\/b><\/p>\n

PAN FILM
\nGill Eatherley, Pan Film, UK, 1972, 16mm, b\/w, silent, 8 min, 3 screen film
\n<\/b><\/p>\n

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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-878","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\/878","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=878"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/878\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=878"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=878"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=878"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}