Tag Archives: expanded cinema

Report from Panorama British Screendance

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I am following up on my last post about this event/ panorama in Bordeaux 11th May 2017: to make this happen, Camille Auburtin worked with three partners, the Cinéma Jean Eustache de Pessac in Bordeaux, who hosted the screening and lecture, the Université Populaire du Cinéma of Bordeaux (UNIPOP), and the independent association Cinéréseaux. It was an interesting forum as it brought together several different audiences of all ages, from young and mature filmmakers who work with dancers and screendance to those who had never heard of screendance/ video dance, but have a general interest in cinema and experimental work.

The films looked great on a massive screen in this 400 seater cinema, and were discussed in the context of experimental cinema’s rich history.

For a blog post on the event see: https://www.facebook.com/milleAub/posts/10155222269177246?match=Y2FtaWxsYXU%3D

 

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Steve Farrer: Film Screening

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De La Warr Pavilion, Bexhill UK, Saturday 20 February 2pm
Auditorium Tickets: £5, £4 DLWP members and concessions

A programme of experimental films by Steve Farrer made between the mid-seventies and the present; a particular emphasis is made on new abstract works exploring methods of creating levels of structure by the use of simple machines and notation. The screening will be followed by a Q&A with the artist. Film likely to contain nudity/sexual images.

Also s installation in Gallery 2:

This exhibition, shown as an immersive installation, is a new commission by Steve Farrer. Best known for his work related to the notions around expanded cinema – which offers an alternative perspective in filmmaking by reinterpreting the given conditions of the cinematic medium – Farrer’s work opens up questions around the spectator’s construction of time/space relations and activates the live context of watching.

Shot in the De La Warr Pavilion’s auditorium, the principle sequence is based on mesmerizing and dream-like scene, The Kingdom of the Shades, from the French choreographer Marius Petipa’s La Bayadère, first performed in 1877. The long and slow repeated-arabesque sequence involves the entire corps de ballet, dancing one by one, in formal articulation across the stage in perfect accumulated unison. The orientation grids of the sequence are revisited in Farrer’s work; the massed ranks of the corps replicated in the multiple exposure of a single performer’s gesture, repeated and looped through the camera and projector. The work interrogates an accepted cinematic experience, giving it a new perspective and engaging the speculation of the audience.

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