{"id":890,"date":"2004-09-19T15:00:44","date_gmt":"2004-09-19T14:00:44","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=890"},"modified":"2018-01-25T14:58:29","modified_gmt":"2018-01-25T14:58:29","slug":"kitchs-last-meal","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2004\/09\/19\/kitchs-last-meal\/","title":{"rendered":"Kitch&#8217;s Last Meal"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>EXPANDED CINEMA: KITCH&#8217;S LAST MEAL<br \/>\nSunday 19 September 2004, at 3pm<br \/>\nDortmund PhoenixHalle<br \/>\n<\/b><\/p>\n<p><b>Carolee Schneemann, Kitch\u2019s Last Meal, 1973-78, 56 min, 2 screen film<br \/>\n<\/b>A double Super-8 vertical projection that documents the personal life of the artist and her partner as their relationship breaks down, up until the death of her cat Kitch. An intimate work of autobiographical filmmaking, projected as an interchangeable set of reels with ambient tape recordings of the household.<\/p>\n<p><i>Note: At short notice, Carolee Schneemann was unable to travel to Dortmund, so Fuses and Plumb Line were also shown in a complete screening of the Autobiographical Trilogy.<br \/>\n<\/i><\/p>\n<a onclick=\"wpex_toggle(953432442, 'Read more', 'Read less'); return false;\" class=\"wpex-link\" id=\"wpexlink953432442\" href=\"#\">Read more<\/a><div class=\"wpex_div\" id=\"wpex953432442\" style=\"display: none;\"><\/p>\n<p><b>EXPANDED CINEMA: KITCH&#8217;S LAST MEAL<br \/>\n<\/b>Sunday 19 September 2004, at 3pm<br \/>\nDortmund PhoenixHalle<\/p>\n<p><b>FUSES<br \/>\nCarolee Schneemann, USA, 1964-67, 16mm, colour, silent, 22 min<\/b><\/p>\n<p><b>PLUMB LINE<br \/>\nCarolee Schneemann, USA, 1964-67, 16mm, colour, sound, 18 min<\/b><\/p>\n<p><b>KITCH\u2019S LAST MEAL<br \/>\nCarolee Schneemann, USA, 1973-78, 8mm, colour, sound-on-tape, 56 min, 2 screen film<br \/>\n<\/b><\/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-890","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\/890","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=890"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/890\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=890"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=890"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=890"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}