{"id":899,"date":"2004-09-25T15:00:54","date_gmt":"2004-09-25T14:00:54","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=899"},"modified":"2018-01-25T14:58:28","modified_gmt":"2018-01-25T14:58:28","slug":"william-raban","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2004\/09\/25\/william-raban\/","title":{"rendered":"William Raban"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>EXPANDED CINEMA: WILLIAM RABAN<br \/>\nSaturday 25 September 2004, at 3pm<br \/>\nDortmund PhoenixHalle<\/b><\/p>\n<p>William Raban\u2019s multi-screen works are pure explorations of film material and technology, concerning the frame, the screen and the shutter. Through their visceral presence they transform structural theories into an intense audio-visual experience, whilst <i>Take Measure<\/i> physically breaks down the intangible space between projector and screen.<\/p>\n<p><b>William Raban, Take Measure, 1973, c.2 min, film performance<br \/>\nWilliam Raban, Surface Tension, 1974-75, 15 min, 2 screen performance<br \/>\nWilliam Raban, Diagonal, 1973, 8 min, 3 screen film<br \/>\nWilliam Raban, Wave Formations, 1978, 25 min, 3 screen performance<br \/>\n<\/b><\/p>\n<a onclick=\"wpex_toggle(298781865, 'Read more', 'Read less'); return false;\" class=\"wpex-link\" id=\"wpexlink298781865\" href=\"#\">Read more<\/a><div class=\"wpex_div\" id=\"wpex298781865\" style=\"display: none;\"><\/p>\n<p><b>EXPANDED CINEMA: WILLIAM RABAN<br \/>\n<\/b>Saturday 25 September 2004, at 3pm<br \/>\nDortmund PhoenixHalle<\/p>\n<p><b>TAKE MEASURE<br \/>\nWilliam Raban, UK, 1973, 16mm, colour, silent, c.2 min, film performance<\/b><\/p>\n<p><b>SURFACE TENSION<br \/>\nWilliam Raban, UK, 1974-75, 16mm, b\/w, sound, 15 min, 2 screen performance<\/b><\/p>\n<p><b>DIAGONAL<br \/>\nWilliam Raban, UK, 1973, 16mm, colour, sound, 8 min, 3 screen film<\/b><\/p>\n<p><b>WAVE FORMATIONS<br \/>\nWilliam Raban, UK, 1978, 16mm, colour, sound, 25 min, 3 screen performance<\/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-899","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\/899","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=899"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/899\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=899"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=899"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}