{"id":84,"date":"2014-09-10T11:17:54","date_gmt":"2014-09-10T11:17:54","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/?page_id=84"},"modified":"2014-09-11T17:47:47","modified_gmt":"2014-09-11T17:47:47","slug":"screening-programme-from-found-footage-film-to-the-audiovisual-essay","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/frankfurt-papers\/screening-programme-from-found-footage-film-to-the-audiovisual-essay\/","title":{"rendered":"SCREENING PROGRAMME: FROM FOUND FOOTAGE FILM TO THE AUDIOVISUAL ESSAY"},"content":{"rendered":"<p><strong>A Screening Programme at the <a href=\"http:\/\/deutsches-filminstitut.de\/blog\/the-audiovisual-essay\/\" target=\"_blank\">Frankfurt Filmmuseum<\/a>, November 23-24, 2013<br \/>\n<\/strong><\/p>\n<p><strong>Curated by Cristina \u00c1lvarez L\u00f3pez and Adrian Martin<\/strong><\/p>\n<p style=\"text-align: right;\"><strong>[<a href=\"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/08\/Frankfurt-sessions-Nov13001.pdf\">Download PDF<\/a>] <\/strong><\/p>\n<p><strong>Session 1 (70 mins, with introduction) Saturday 23 November 6-7.30pm<\/strong><\/p>\n<p>1) <em>Rose Hobart<\/em> \u2013 Joseph Cornell, 1936 (19 min)<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=pQxtZlQlTDA\" target=\"_blank\" rel=\"https:\/\/www.youtube.com\/watch?v=pQxtZlQlTDA\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-432 size-full\" title=\"Frame grab from ROSE HOBART (Joseph Cornell, 1936)\" src=\"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/08\/gay-art-200-Rose-Hobart-2.jpg\" alt=\"Frame grab from ROSE HOBART (Joseph Cornell, 1936)\" width=\"640\" height=\"453\" srcset=\"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/08\/gay-art-200-Rose-Hobart-2.jpg 640w, https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/08\/gay-art-200-Rose-Hobart-2-300x212.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p><em>Rose Hobart<\/em> consists almost entirely of footage taken from <em>East of Borneo<\/em>, a 1931 jungle B-film starring the nearly forgotten actress, Rose Hobart. Cornell condensed the 77-minute feature into a 19 minute short, removing virtually every shot that didn\u2019t feature Hobart, as well as all of the action sequences. In so doing, he utterly transforms the images, stripping away the awkward construction and stilted drama of the original to reveal the wonderful sense of mystery that saturates the greatest early genre films. (Brian L. Frye, <a href=\"http:\/\/sensesofcinema.com\/2001\/cteq\/hobart\/\" target=\"_blank\"><em>Senses of Cinema<\/em><\/a>, 2001)<\/p>\n<p>2) <em>Alone. Life Wastes Andy Hardy<\/em> \u2013 Martin Arnold, 1998 (15 min)<\/p>\n<p><em><a href=\"https:\/\/www.youtube.com\/watch?v=LgqH3PK6-3Q\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-445 size-full\" title=\"Frame grab from ALONE. LIFE WASTES ANDY HARDY (Martin Arnold, 1998)\" src=\"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/ALONE.jpg\" alt=\"Frame grab from ALONE. LIFE WASTES ANDY HARDY (Martin Arnold, 1998)\" width=\"768\" height=\"576\" srcset=\"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/ALONE.jpg 768w, https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/ALONE-300x225.jpg 300w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a>Alone <\/em>comprises, along with <em>Pi\u00e8ce touch\u00e9e<\/em> (1989) and <em>Passage \u00e0 l\u2019acte<\/em> (1993), a \u201ctrilogy of compulsive repetition\u201d. Arnold\u2019s signature style applies the technique of forward-and-back looping \u2013 images repeated in a two steps forward, one step back pattern \u2013 to banal interstitial sequences from classical Hollywood films, propelling the characters through a scene in stuttering slow motion. Frozen and replayed, they seem to capture moments of unconscious desire and repression unwittingly trapped between the 24-frames-per-second which ground cinematic movement. (Michael Zyrd)<\/p>\n<p>3) <em>Gravity<\/em> \u2013 Nicolas Provost, 2007 (6 min)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/45469504?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n[<a href=\"http:\/\/vimeo.com\/45469504\">Gravity Excerpt<\/a> from <a href=\"http:\/\/vimeo.com\/nicolasprovost\">Tim Van Laere Gallery]<\/a><br \/>\nThe cinematic kiss is probably one of the most archetypical images to be found in film history.\u00a0Playing with the physiological and cinematographic principle of the after-image, Provost causes dozens of kissing scenes from European and American film classics to collide.\u00a0The reassuring world of multiplied kisses is shattered by a stroboscopic effect that plunges and looses us into the dizzying vertigo of the embrace where love becomes a passionate battle in which monsters are finally unmasked. &lt;<a href=\"http:\/\/www.nicolasprovost.com\/films\/445\/\" target=\"_blank\">www.nicolasprovost.com\/films\/445\/<\/a>&gt;<\/p>\n<p>4) <em>Variation on the Sunbeam<\/em> \u2013 Aitor Gametxo, 2011 (10 min)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/22696362?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nAitor Gametxo, a 22 year-old film studies graduate in Barcelona, took the entirety of D.W. Griffith\u2019s seminal short film <em>The Sunbeam<\/em> (1912) and rearranged the footage according to the physical location of each shot, all taking place in a single house. The results reveal that Griffith shot the entire short using five camera setups, which Gametxo arranges according to their proximity to each other within the house; he includes a sixth space for the intertitles. \u00a0Behold, a movie viewed simultaneously in six dimensions of space, all unfolding in real time. (<a href=\"http:\/\/www.fandor.com\/keyframe\/essential-viewing-forget-3-d-have-a-look-at-6-d\" target=\"_blank\">Kevin B. Lee, <em>Fandor<\/em><\/a>) [For further information see the links here: <a href=\"https:\/\/vimeo.com\/22696362\" target=\"_blank\">https:\/\/vimeo.com\/22696362<\/a>]<\/p>\n<p>5) <em>Club Video<\/em> \u2013 Philip Brophy, 1985 (20 min)<\/p>\n<p><em><a href=\"http:\/\/www.philipbrophy.com\/projects\/clbvd\/background.html\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-446 size-full\" title=\"Frame grab from CLUB VIDEO (Philip Brophy, 1985)\" src=\"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/CLUB-VIDEO-1.png\" alt=\"Frame grab from CLUB VIDEO (Philip Brophy, 1985)\" width=\"480\" height=\"368\" srcset=\"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/CLUB-VIDEO-1.png 480w, https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/CLUB-VIDEO-1-300x230.png 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/a><a href=\"http:\/\/www.philipbrophy.com\/projects\/clbvd\/background.html\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-447 size-full\" title=\"Frame grab from CLUB VIDEO (Philip Brophy, 1985)\" src=\"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/CLUB-VIDEO-2.png\" alt=\"Frame grab from CLUB VIDEO (Philip Brophy, 1985)\" width=\"480\" height=\"368\" srcset=\"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/CLUB-VIDEO-2.png 480w, https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/files\/2014\/09\/CLUB-VIDEO-2-300x230.png 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/a><\/em><\/p>\n<p><a href=\"http:\/\/www.philipbrophy.com\/projects\/clbvd\/background.html\" target=\"_blank\"><em>Club Video<\/em><\/a> began life in 1985 as a video installation arranged across two free-standing monitors and an autonomous stereophonic or quadraphonic sound playback; in recent years it has been reassembled into a split-screen DVD for theatrical screening. <a href=\"http:\/\/www.philipbrophy.com\/projects\/clbvd\/background.html\" target=\"_blank\">Brophy<\/a>, pillaging VHS tapes (many taped off Australian TV), distills several canonical Hollywood films (including <em>Stagecoach<\/em>, <em>Touch of Evil<\/em> and <em>Psycho<\/em>) into their generic and cinematic essence: gestures, movements, types. Between \u2018nightclub video wallpaper\u2019 and close textual analysis, <em>Club Video<\/em> is prescient of many contemporary trends in the audiovisual essay. (Adrian Martin)<\/p>\n<p><strong>Session 2 (90 min) Sunday 24 November 5-6.30pm<\/strong><\/p>\n<p>1) <em>Inflames<\/em> \u2013 Covadonga G. Lahera, 2009 (3 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/67554241?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"346\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nThe burning robot of <em>Electroma<\/em> (2006) traverses the night and the frame in total silence \u2013 here, no audio track \u2013 until meeting the \u2018flames\u2019 of the famous final shot of <em>Two-Lane Blacktop<\/em> (1971). This is pure creation \u2013 not too far from some forms of video art \u2013 born from cinema itself, and the reflection on how two images, two films, can talk to each other. It seems to me a very fruitful idea to \u2018rub\u2019 these two scenes together \u2013 a clear demonstration of what this <em>new criticism<\/em> that has emerged on-line can offer. What better way of diving into cinema history, and searching for relations or establishing links between two road movies, than to gauge how a \u2018hot\u2019 sequence can ignite something adjacent into flames? What better way to prove the debt and filiation of Daft Punk (directors of the fascinating, alien object <em>Electroma<\/em>) to Monte Hellman, director of that genre masterpiece <em>Two-Lane Blacktop<\/em>? (Jos\u00e9 Manuel L\u00f3pez, <em>Transit<\/em>)<\/p>\n<p>2) <em>Pass the Salt<\/em> \u2013 Christian Keathley, 2011 (8 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/23266798?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"480\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nThe form adopted by this audiovisual essay arises from a mix between a detective investigation \u2013 which allows us to glimpse the cinephilic obsession of this piece\u2019s author \u2013 and legal exposition, a strategy perfectly in accord with the film under analysis. In the first instance, Keathley opts for an analytic process of <em>decomposition<\/em> to isolate the distinct elements that make up a scene from Otto Preminger\u2019s <em>Anatomy of a Murder<\/em> (1959). Then, he arranges all the pieces of the puzzle that, ultimately, we see transformed into the premises of a persuasive argument \u2013 evidence that proves the interpretation of the selected fragment. (Cristina \u00c1lvarez)<\/p>\n<p>3) <a href=\"http:\/\/www.johanna-vaude.com\/beyond-fiction\/\" target=\"_blank\"><em>Beyond Fiction<\/em> \u2013 Johanna Vaude<\/a>, 2011 (6 mins)<br \/>\n<iframe loading=\"lazy\" style=\"transition-duration: 0; transition-property: no; margin: 0 auto; position: relative; display: block; background-color: #000000;\" src=\"http:\/\/www.arte.tv\/arte_vp\/index.php?json_url=https%3A%2F%2Fapi.arte.tv%2Fapi%2Fplayer%2Fv1%2Fkewego%2Fconfig%2Ffr%2F20fcf90a51ds&amp;lang=fr_FR&amp;config=arte_archives_bonus&amp;embed=1&amp;rendering_place=&amp;tc_start_from=\" width=\"720\" height=\"406\" frameborder=\"0\" scrolling=\"no\"><\/iframe><br \/>\n<em>Beyond Fiction<\/em> was commissioned for the progressive French \u2018webzine\u2019 <a href=\"http:\/\/www.arte.tv\/fr\/Carpenter-par-Johanna-Vaude---Carte-blanche---Blow-up\/3955958.html\" target=\"_blank\"><em>Blow Up<\/em>, screened on Arte<\/a>. It is a tribute to John Carpenter\u2019s fantasy\/horror films, which touch a disquieting political and ethical realm \u2018beyond fiction\u2019. Vaude edits and digitally reworks fragments from many Carpenter movies, changing colour and tone, using superimposition. Her work is \u2018figural theory\u2019 in experimental action. (Adrian Martin) <em>[See Johanna Vaude&#8217;s website for further information about this film: <a href=\"http:\/\/www.johanna-vaude.com\/beyond-fiction\/\" target=\"_blank\">http:\/\/www.johanna-vaude.com\/beyond-fiction\/<\/a>]<\/em><\/p>\n<p>4) <em>Kristall<\/em> \u2013 Matthias M\u00fcller &amp; Christoph Girardet, 2006 (15 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/103333900?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nKRISTALL (Excerpt) By Christoph Girardet &amp; Matthias M\u00fcller<br \/>\n35 mm Film \/ HD loop, 1,85:1 | color | sound |\u00a015\u2019, 2006<\/p>\n<p><em>Kristall <\/em>(<em>Mirror<\/em>) creates a melodrama inside seemingly claustrophobic mirrored cabinets. Like an anonymous viewer, the mirror observes scenes of intimacy. It creates an image within an image, providing a frame for the characters. At the same time it makes them appear disjointed and fragmented. This instrument for self-assurance and narcissistic presentation becomes a powerful opponent that increases the sense of fragility, doubt and loss twofold. \u2028(<a href=\"http:\/\/www.sixpackfilm.com\/en\/catalogue\/show\/1682\" target=\"_blank\">Matthias M\u00fcller &amp; Christoph Girardet<\/a>)<\/p>\n<p>5) <em>The Dielman Variations<\/em> \u2013 Fernando Franco, 2010 (12 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/11706484?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"408\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n<em>The Dielman Variations<\/em> plays with some fragments of Chantal Akerman\u2019s classic <em>Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles<\/em> (1975), by returning us to the same empty spaces, the slow passage of time, the monotony \u2013 all magnified. The stillness and frontality of the Belgian director\u2019s film are underlined by various aesthetic procedures used by Franco, such as superimpositions and fast motion. (Santiago Rub\u00edn de Cel\u00eds, <em>Blogs &amp; Docs<\/em>)<em> [Further information at Fernando Franco&#8217;s website: <a href=\"http:\/\/www.fernandofranco.com\/fernando-franco-les-variations-dielman_eng.html\" target=\"_blank\">http:\/\/www.fernandofranco.com\/fernando-franco-les-variations-dielman_eng.html<\/a><\/em>]<\/p>\n<p>6) <em>What is Neorealism?<\/em> \u2013 Kogonada, 2013 (5 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/68514760?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe>Every cut is a form of judgment. A cut reveals what matters and what doesn\u2019t. It delineates the essential from the non-essential. To examine the cuts of a filmmaker is to uncover an approach to cinema. The <a href=\"http:\/\/www.criterion.com\/current\/posts\/295-indiscretion-of-an-american-wife-terminal-station\">happenstance<\/a> of Vittorio De Sica\u2019s <em>Terminal Station<\/em> (1953) and <a href=\"http:\/\/explore.bfi.org.uk\/4ce2b9f9bf56d\">David O. Selznick<\/a>\u2019s <em>Indiscretion of an American Wife<\/em> (1953) offers a rare opportunity to compare two cuts of the same film from a leading figure of neorealism and a leading figure of Hollywood. If neorealism exists, it is in contrast to the dominant approach to moviemaking, shaped and exemplified by Hollywood. In comparing these two films, we must ask: what difference does a cut make? (Kogonada, <em>Sight and Sound<\/em>)<\/p>\n<p>7) <em>True Likeness: On <\/em>Peeping Tom<em> and <\/em>Code Unknown \u2013 Catherine Grant, 2010 (5 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/12761424?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nFollowing through on the idea of scholar Brigitte Peucker&#8217;s \u2018gloss\u2019 (a kind of \u2018invisible note in the margin\u2019 of Michael Haneke&#8217;s films), it struck me that Michael Powell\u2019s <em>Peeping Tom<\/em> (1960) could be deployed audiovisually, as a kind of <em>cypher-machine<\/em> through which one might perform a <em>cryptanalysis<\/em> of the enigmatic and <em>incompletely <\/em>told<em> Code Unknown<\/em> (2000). Given that <em>Peeping Tom<\/em>&#8216;s screenplay was itself written by wartime cryptographer Leo Marks, this would, of course, be a classic Hanekian funny game. (<a href=\"http:\/\/filmanalytical.blogspot.com\/2010\/06\/true-likeness-peeping-tom-and-code.html\" target=\"_blank\">Catherine Grant, <em>Filmanalytical<\/em> blog<\/a>)<\/p>\n<p>8) <em>Mogambo<\/em> \u2013 Tag Gallagher, 2010 (13 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/54489059?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"481\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nLong admired for his books on great directors (John Ford, Roberto Rossellini) and articles adorned with screenshots, the American Tag Gallagher has avowed that he feels he is only now \u201ctruly doing criticism\u201d by using and commenting on clips in video-essay form. His analysis of scenes and moments from Ford\u2019s <em>Mogambo<\/em> (1953) delves deeply into aspects of space, environment, gesture, and character psychology: the best kind of \u2018illustrated lecture\u2019. (Cristina \u00c1lvarez)<\/p>\n<p>9) <em>Ozu \/\/ Passageways<\/em> \u2013 Kogonada, 2012 (2 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/55956937?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe>A currently popular form of digital editing is the <em>supercut<\/em>, gathering at fast-speed numerous instances of a particular line of dialogue or situation from many films. Forsaking the usual Hollywood mainstream examples for this type of practice, Kogonada surveys a crucial framing strategy in the work of Japanese master Yasujiro Ozu: the diverse human activities (walking, running, passing through) that occur within corridors, archways, rectangles of all kinds \u2026 what film studies identifies as Ozu\u2019s <em>parametric<\/em> narration, this work displays in dazzling action. (Adrian Martin)<\/p>\n<p>10) <em>Screen and Surface, Soft and Hard: Leos Carax<\/em> \u2013 Cristina \u00c1lvarez L\u00f3pez and Adrian Martin, 2013 (20 mins)<br \/>\n<iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/78574720?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"468\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nThis sequence of three digital montages can be viewed autonomously, or as part of a larger analytical work on \u201cThe Cinema of Leos Carax\u201d in <a href=\"http:\/\/cinentransit.com\/el-cine-de-leos-carax\/#dos\" target=\"_blank\"><em>Transit<\/em><\/a>, which also uses screenshots and text. Deploying a split screen arrangement, the montages arrange various motifs, keys and obsessions within Carax\u2019s \u0153uvre: lights, screens, water, holes, surfaces, doors, corridors \u2026 plus the sounds of Bowie, Arvo P\u00e4rt, a bank of photocopiers and a pinball machine. (Cristina \u00c1lvarez &amp; Adrian Martin) <em>[For further information please see: <a href=\"http:\/\/cinentransit.com\/el-cine-de-leos-carax\/#dos\" target=\"_blank\">http:\/\/cinentransit.com\/el-cine-de-leos-carax\/#dos<\/a>]<\/em><\/p>\n<p><em>The embedded videos above appear\u00a0here with the kind permission of their authors. Warm thanks go to them and to Cristina \u00c1lvarez L\u00f3pez and Adrian Martin, co-curators of the screening\u00a0program, for their help with this process.<\/em><\/p>\n<p style=\"text-align: right;\"><em>Sourcing and embedding of online video versions and collection of permissions by Catherine Grant and Chiara Grizzaffi.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Screening Programme at the Frankfurt Filmmuseum, November 23-24, 2013 Curated by Cristina \u00c1lvarez L\u00f3pez and Adrian Martin [Download PDF] <a class=\"more-link\" href=\"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/frankfurt-papers\/screening-programme-from-found-footage-film-to-the-audiovisual-essay\/\">Continue Reading<span class=\"screen-reader-text\">SCREENING PROGRAMME: FROM FOUND FOOTAGE FILM TO THE AUDIOVISUAL ESSAY<\/span><span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":19,"menu_order":8,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-84","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P4VcpT-1m","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/84","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/comments?post=84"}],"version-history":[{"count":33,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/84\/revisions"}],"predecessor-version":[{"id":628,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/84\/revisions\/628"}],"up":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/19"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/media?parent=84"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}