{"id":927,"date":"2006-12-08T19:00:43","date_gmt":"2006-12-08T19:00:43","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=927"},"modified":"2018-01-25T14:55:55","modified_gmt":"2018-01-25T14:55:55","slug":"expanded-screening-2","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2006\/12\/08\/expanded-screening-2\/","title":{"rendered":"Screening"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>EXPANDED CINEMA: SCREENING<br \/>\nFriday 8 December 2006, at 7pm<br \/>\nStuttgart W\u00fcrttembergischer Kunstverein<\/b><\/p>\n<p><b>Ken Jacobs, Opening the Nineteenth Century: 1896, USA, 1990, 16mm, b\/w, sound, 9 min<br \/>\n<\/b>An archival film from the turn of the century, transformed into impossible 3D.<\/p>\n<p><b>Hans Michaud, MorningFilms Double Projection 8\/2001-10\/2004, USA, 2004, 2 x 16mm, b\/w, silent, 5 min<br \/>\n<\/b>A celluloid sketchbook composed to a strict mathematical scheme.<\/p>\n<p><b>Rose Lowder, Certaines Observations, France, 1979, 2 x 16mm, b\/w, silent, 14 min<br \/>\n<\/b>\u201cCertain observations are used to define notions regarding the appearance of things in true or apparent motion.\u201d<\/p>\n<p><b>Yann Beauvais, Sans Titre 84, France, 1984, 2 x 16mm, colour, silent, 14 min<br \/>\n<\/b>Photographs of the Arc de Triomphe, split into strips, reformed and transformed.<\/p>\n<p><b>Werner Nekes, Gurtrug Nr. 2, Germany, 1967, 2 x 16mm, colour, sound, 13 min<br \/>\n<\/b>Two triangular images, vertically aligned, form an X in space and time.<\/p>\n<p><b>Ernst Schmidt Jr., Doppelprojektion, Austria, 1969, 2 x 16mm, b\/w, silent, 5 min<br \/>\n<\/b><i>Doppelprojektion<\/i> explores the transformation of events from physical space into visual space.<\/p>\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":[33],"tags":[11,34],"class_list":["post-927","post","type-post","status-publish","format-standard","hentry","category-expanded-cinema-2006","tag-expanded-cinema","tag-stuttgart"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/927","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=927"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/927\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=927"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=927"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=927"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}