Linked Data Explorerhttp://worldcat.org/entity/work/id/476278628
William Kentridge art from the ashes
In this program, artist, filmmaker, and dramatist William Kentridge demonstrates his remarkable filmmaking technique-stop-action animation using photos of charcoal drawings in which he has erased and redrawn scenes in different arrangements-as he works on Stereoscope. Footage from that piece as well as from History of the Main Complaint; Felix in Exile; Sobriety, Obesity & Growing Old; Mine; and Johannesburg, 2nd Greatest City After Paris powerfully illustrates his abiding concerns with the sociopolitical legacy of racial oppression and colonialism in South Africa. The film clips also reveal how his polemical "drawings for projection" evoke a nuanced sense of time's passage as each image builds upon the shadowy remnants of prior ones. (52 minutes).
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- "Art from the ashes"@en
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- "In this program, artist, filmmaker, and dramatist William Kentridge demonstrates his remarkable filmmaking technique-stop-action animation using photos of charcoal drawings in which he has erased and redrawn scenes in different arrangements-as he works on Stereoscope. Footage from that piece as well as from History of the Main Complaint; Felix in Exile; Sobriety, Obesity & Growing Old; Mine; and Johannesburg, 2nd Greatest City After Paris powerfully illustrates his abiding concerns with the sociopolitical legacy of racial oppression and colonialism in South Africa. The film clips also reveal how his polemical "drawings for projection" evoke a nuanced sense of time's passage as each image builds upon the shadowy remnants of prior ones. (52 minutes)."@en
- "In this program, artist, filmmaker, and dramatist William Kentridge demonstrates his remarkable filmmaking technique-stop-action animation using photos of charcoal drawings in which he has erased and redrawn scenes in different arrangements-as he works on Stereoscope. Footage from that piece as well as from History of the Main Complaint; Felix in Exile; Sobriety, Obesity & Growing Old; Mine; and Johannesburg, 2nd Greatest City After Paris powerfully illustrates his abiding concerns with the sociopolitical legacy of racial oppression and colonialism in South Africa. The film clips also reveal how his polemical "drawings for projection" evoke a nuanced sense of time's passage as each image builds upon the shadowy remnants of prior ones."@en