{"id":13,"date":"2014-01-27T08:30:53","date_gmt":"2014-01-27T08:30:53","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/mediatico\/?p=13"},"modified":"2021-06-28T21:27:02","modified_gmt":"2021-06-28T21:27:02","slug":"digital-realisms-eduardo-del-llanos-ten-short-films","status":"publish","type":"post","link":"https:\/\/reframe.sussex.ac.uk\/mediatico\/2014\/01\/27\/digital-realisms-eduardo-del-llanos-ten-short-films\/","title":{"rendered":"Digital Realisms in Cuba: Eduardo del Llano\u2019s Ten Short Films"},"content":{"rendered":"\n<p>Medi\u00e1tico <em>presents an entry by one of its founding co-editors, <a rel=\"noopener noreferrer\" href=\"http:\/\/www.sussex.ac.uk\/profiles\/157871\" target=\"_blank\">Dolores Tierney<\/a>, Senior Lecturer in the School of Media, Film and Music, University of Sussex. In it, she explores digital realisms in&nbsp;Cuban filmmaker Eduardo del Llano\u2019s <\/em>Decalogue<em>, about contemporary life in Cuba. The paper was&nbsp;first publicly delivered in a presentation Tierney gave at a Symposium on Cuban cinema organized by Guy Baron at Aberystwyth University in March 2013. The presentation began with the showing of a clip from the first of Del Llano&#8217;s short films&nbsp;<\/em>Monte Rouge<em>.&nbsp;@ 2mins and 9 seconds Nicanor, the protagonist receives a knock at the door.<br><\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/5nTs30sF-ws?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p>In a 2008 essay, Alexandra Juhasz suggests that the many utopian dreams of radical filmmakers worldwide (and within these we can include those of Cuban filmmaker Garc\u00eda Espinosa author of radical manifesto \u2018For an Imperfect Cinema\u2019)<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>&#8220;where media consumers would become producers because they could at last afford the means of production and distribution; where they could document the look, feel and meat of their daily lives; then add these records of their everyday experiences to the public sphere; and participate in the production of culture without the expertise bought at film schools (2008: 299).&#8221;<\/p><\/blockquote>\n\n\n\n<p>might actually be a foretelling of YouTube. Eduardo del Llano\u2019s ten short films (made over a period of 6 years), and now all uploaded onto YouTube, appear to be part of this dream of a free production of culture. Indeed other than that they are made by personnel trained within Cuba\u2019s film schools (or at ICAIC). As Cristina Venegas (2010) points out, correlations between film culture and the freedoms of digital technology or indeed connectivity which can be made in other countries in the world (though even Juhasz actually has reservations about the accessibility and multivocality of YouTube), are much more complicated in Cuba where access to the internet has been historically much more limited and even controlled (2010: 14, 143)<\/p>\n\n\n\n<p>This post takes as its focus the independent, digitally captured, produced and distributed ten short films of Eduardo del Llano including <em>Monte Rouge <\/em>(2004), <em>Intermezzo <\/em>(2007) and <em>Exit <\/em>(2011). Focusing on the daily experiences of Nicanor O\u2019Donell (Luis Alberto Garc\u00eda), a kind of everyman for his generation* these shorts present a satirical perspective on different aspects of contemporary Cuban reality. This post looks at the formal practices that constitute realism in Del Llano\u2019s short films as they are facilitated by digital image capturing<strong>.<\/strong> The post also explores the possibilities and limitations offered by digital filmmaking for Cuba\u2019s developing independent cinema sector.<\/p>\n\n\n\n<p>In 2013, as with Carlos Lechuga\u2019s <i>Melaza<\/i> (2012)<i> <\/i>or Daniel D\u00edaz Torres\u2019 <i>La pel\u00edcula de Ana <\/i>(2012)**<i> <\/i>most feature films in Cuba (as in Ecuador, Peru and other resource strained national film endeavours in Latin America) are being shot with digital cameras for the simple reason that no one, not even with co-production funding from Europe, can in the words of one critic \u201cafford to shoot on film anymore\u201d (Lopez 2013) . The advent of cheap and accessible new technologies of digital filmmaking have to a great extent facilitated both the continuity of institutional filmmaking and the flourishing of an independent cinema, outside the auspices of the state film institute ICAIC in Cuba which has since its founding in March of 1959 been at the centre of filmmaking on the island. Post the Special Period, and in financially reduced circumstances, digital image capturing has allowed filmmaking to continue. It has allowed new and established filmmakers to circumscribe the economic and institutional limitations to filmmaking. The late Humberto Sol\u00e1s (<i>Luc\u00eda <\/i>1968), for example, was only able to make <i>Miel para Osh\u00fan <\/i>(<i>Honey for Oschun<\/i>, 2001) after having spent a decade without filming thanks to the low cost of digital technology. (L\u00f3pez, 2008: 192) His subsequent film <i>Barrio Cuba<\/i> (2005) and Humberto<i> <\/i>Padr\u00f3n\u2019s <i>Frutas en el caf\u00e9 <\/i>(2005) could both be made with almost no budget precisely because they were filmed using mini digital cameras. No prior script submission, institutional support from ICAIC, or outside funding is necessary for production and postproduction when a film can be made with domestic quality mini DV recorders, edited at home on a laptop and then circulated outside official channels via self authored DVDs, and the internet. Del Llano\u2019s shorts were made this way, and were originally passed \u2018de mano a mano\u2019 across the island (Borrero 2009) and now circulate on YouTube, Vimeo and other video sharing websites.<\/p>\n\n\n\n<p>The norms of commercial distribution however cannot be so easily circumscribed nor can films distributed for free subsequently and easily recuperate their costs (as Del Llano\u2019s comments on his blog point out). Financially, digitally captured films, no matter how cheap their production still require additional monies (which in the case of Padr\u00f3n\u2019s <i>Frutas en le Caf\u00e9 <\/i>came from Spain) to pay for the transference from digital format to the 35mm and other aspects of post production necessary for commercial exhibition. Additionally, commercial distribution still requires the backing of ICAIC which acts as a gatekeeper, in control of which films are distributed across the island. Conversely, ICAIC is one source of many of the personnel who work in independent cinema (others include the alternative spaces which have proliferated since the 1980s which have made it possible for a greater numbers of individuals to be involved in filmmaking outside ICAIC, the &nbsp;ISA, the EICTV, Asociaci\u00f3n Hermanos Sa\u00edz, Fundaci\u00f3n Ludwig (Stock 2009: 36). Del Llano has been an ICAIC scriptwriter since his work on <i>Alicia en el pueblo de maravillas<\/i> in 1990 and most recently Premio Coral-winning co-scriptwriter of <i>La pel\u00edcula de Ana <\/i>with D\u00edaz Torres&#8211;, Luis Alberto Garc\u00eda who plays Nicanor is also an ICAIC actor as indeed are other actors who appear in the shorts Vladimir Cruz, Jorge Perruguoia. Tellingly however, other ICAIC personnel pulled out of the production of the first film in the series <i>Monte Rouge<\/i>.<\/p>\n\n\n\n<p>This last fact isn\u2019t to point towards a necessarily entrenched antagonistic relationship between ICAIC and independent cinema (just maybe a worry amongst some personnel about the contentious nature of <i>Monte Rouge<\/i>). Conscious of the many barriers to new filmmakers getting a break, because of reduced funds and consequent reduced capabilities ICAIC set up in 2001 La Muestra Joven (Young Filmmakers Festival) \u2018in recognition of the need to take into account filmmakers working outside the institute\u2019 and \u2018to give visibility to a new generation of filmmakers\u2019. (L\u00f3pez, 2008: 191) Ana L\u00f3pez suggests that by sponsoring this festival ICAIC could \u2018dispers[e] the fear of generational battles\u2019 and also give the young filmmakers the \u2018opportunity to have [their] work seen more widely\u2019. (2008: 191) Celebrating its eleventh year in 2012, the festival has been an important launching pad for filmmakers with very different approaches to filmmaking in Cuba including Padr\u00f3n (whose <i>Video de familia <\/i>won an award there in 2002), Juan Carlos Cremata (whose <i>Chamaco <\/i>2010<i> <\/i>was shown there), Arturo Infante (<i>Utopia<\/i>, 2005), Pavel Giroud (<i>La edad de la peseta <\/i>[<i>The Silly Age<\/i>, 2006], <i>Tres Veces Dos <\/i>[<i>Three times Two <\/i>2005]) Tamara Morales (<i>Cualquier mujer <\/i>[<i>Any Woman<\/i>, 2005]) and Aaron Vega.<\/p>\n\n\n\n<p>Institutionally, however Del Llano\u2019s shorts have not received any kind of official platform. Of his ten cortometrajes, only one, <i>Intermezzo <\/i>was accepted for exhibition at the 30th Festival Internacional del Nuevo Cine Latinoamericano. To a certain extent Del Llano\u2019s <i>dec\u00e1logo de Nicanor<\/i>, made between 2004 and 2011, illustrates what New York-based Cuban director of <i>Red Cockroaches <\/i>and <i>Memorias de Desarollo <\/i>(<i>Memories of Overdevelopment <\/i>2010), and EICTV graduate Miguel Coyula has identified as a tendency amongst independent filmmaking in Cuba: \u201ca greater willingness to tackle riskier and risqu\u00e9 subjects\u2019 (Burnett 2013). The subjects of Del Llano\u2019s shorts, ranging from state surveillance, the Cuban press, to BDSM and sex toys are indeed both politically risky and risqu\u00e9. That <i>Intermezzo<\/i> was accepted for the Festival is recognition, esteemed critic Juan Antonio Garc\u00eda Borrerro suggests \u201ca que existimos sin tener que hacer concesiones\u201d (that we exist without having to make concessions; 2009)<\/p>\n\n\n\n<p><i>Monte Rouge <\/i>(2004)<i> <\/i>recounts a home visit from state security police to openly consult with Nicanor (a driver for the ICAIC) on the placement in his apartment of a government listening device. Nicanor has been singled out for one of these devices because of his accurate criticisms and analysis of the problems of daily life in Cuba, plus, as agent Rodr\u00edguez (another recurring character from all the shorts played by N\u00e9stor Jim\u00e9nez) explains one of their colleagues has taken the car and Nicanor lives in walking distance of headquarters. Piloting a new scheme to make their presence &#8216;m\u00e1s participativa\u2019 (more participatory), the security police want Nicanor\u2019s cooperation so that they can clearly record everything he has to say against the government (and tell him to be careful not to waste their time with any of his positive comments on life in Cuba). But, having to put the only microphone the state entitles him to (as a single man who lives alone) in the toilet (which has the best acoustics \u2013 good enough Del Llano\u2019s character says \u2018to record a record\u2019) Rodr\u00edguez warns Nicanor to be happy to get one microphone as there are some families living ten to a single abode who have spend all their day at the housing office complaining because they also have to make do with one.<\/p>\n\n\n\n<p class=\"has-text-align-left\"><i>Intermezzo <\/i>(2007) finds Nicanor at a union meeting accosted in the men\u2019s toilets during a break as some kind of oddity\/celebrity for having been the only one to vote against the proposal (it\u2019s never clarified what the proposal was for). While he waits desperately to pee, other delegates (including one played by Vladimir Cruz) come in to congratulate him, ask him what it feels like to vote against a proposal, laugh uproariously when he says he voted against just because he didn\u2019t agree with the proposal (as if they who voted in its favour had) and even have their photograph taken with him as a minor celebrity.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/F_vuda_ToQ8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p>As the photograph pose suggests, the joke in <i>Intermezzo<\/i> is seemingly against false unanimity in the official structures of Cuban life.<\/p>\n\n\n\n<p>In <i>Exit <\/i>(2011) the final short in the series Nicanor is contracted by a French artist Rodrigo (Jim\u00e9nez with blonde hair) to beat up Cuban musicians, dancers and others so that he can record the pain of Cuban artists in one mass collage of photographs. For a 5 euro fee per beating, Nicanor is happy to do the work (if a little pained at hitting a singer he admires) but has to be persuaded to punch a female ballet dancer and a &nbsp;primitive painter who also happens to be a quadruple amputee. <i>Exit<\/i> questions the ethics of foreign artists in their desire to exploit Cuba but also the ethics of Cuban artists in their readiness to be exploited Some shots show actors, sculptors and other artists queuing up to be beaten\/included in Rodrigo\u2019s piece (which they consider \u2018un honor\u2019).<\/p>\n\n\n\n<p>Along with Coyula, Del Llano is one of a \u201cgeneration of media producers who have integrated digital technology and the internet into their mode of filmmaking\u201d (Venegas 2010: 131) and who is taking an individual approach \u201cthat challenges the central position of the state.\u201d In his shorts Del Llano draws on a familiar repertoire of realist formal practices that are facilitated by the portability and accessibility of digital filming. The films are all shot on location (Del Llano\u2019s own apartment is the setting for <i>Monte Rouge<\/i>, the toilet at the Mella theatre is the setting for <i>Intermezzo<\/i>), and many of them make use of a limited space (a room, a single apartment, in the case of <i>Pas de Quatre<\/i> a taxi cab) and a limited amount of camera set ups including static cameras (sometimes taking place entirely in one scene as in <i>Pravda<\/i>). As exercises in cinematic minimalism, the style of these shorts is recognisable from other independent cinemas across the world \u2013 particularly American independent cinema of the 1990s (<i>Clerks<\/i>, <i>Stranger than Paradise<\/i>).*** But they also show a (sometimes jokey) awareness of Cuba\u2019s own cinematic language of radical critical reality developed in the 1960s.<\/p>\n\n\n\n<p>In published work on the digital image I\u2019ve suggested that in the case of Fernando Perez\u2019 <i>Suite Habana <\/i>digital filmmaking creates a continuity with the political and aesthetic goals of Garc\u00eda Espinosa\u2019s cine imperfecto through a high definition rendering of late socialist reality that challenges the \u2018perfect\u2019 illusion of classical Hollywood realism (Tierney 2007).**** With Del Llano in these ten shorts, the use of digital image capturing plays less of an ontological role and more of a pragmatic practical role, observing the action and sometimes signalling the cheapness (but not the poor quality in these excellently executed shorts) of the production. There is a cheeky reference to cine imperfecto (and perhaps to <i>Plaff<\/i>) when in <i>Monte Rouge<\/i>, a microphone boom falls briefly into shot in front of Rodr\u00edguez\u2019 face. He looks at it, then repeats his line and continues the scene. It is as if this knowing use of imperfection \u2013 is to deliberately place <i>Monte Rouge <\/i>in a line of Cuban filmmaking that is a critique of Cuban reality without being wholly critical. (The espousal of <i>Monte Rouge <\/i>by the exile community in Miami was for example not Del Llano\u2019s intention at all)<\/p>\n\n\n\n<p>As cheap films, made with little money, Del Llano\u2019s shorts can be considered part of a reinvented \u2018poor cinema\u2019 approach that became a mantra and indeed a movement in Cuba, under the direction of Sol\u00e1s. Sol\u00e1s launched the Festival de Cine Pobre (No-Budget Film Festival) and with it a \u2018Manifesto de Cine Pobre\u2019 in 2003 in G\u00edbara. \u2018No budget cinema\u2019, Sol\u00e1s claims, is a means of ensuring the diversity and legitimacy of other national and cultural identities in the face of homogenization threatened by globalization (n.d. 2003). In many ways \u2018cine pobre\u2019 is a defence of independent or alternative media practices and continues the anti and post-colonial arguments of Garc\u00eda Espinosa and the New Latin American Cinema debates of the 1960s and 1970s (Venegas, 2009: 48-49) The festival attracts films from all over the world and has launched a number of Cuban films, including Sol\u00e1s\u2019 own no budget film <i>Barrio Cuba<\/i> (2005)<\/p>\n\n\n\n<p>The digital realism of Del Llano\u2019s shorts lies not in the espousal of current realist techniques in vogue across Latin American and indeed global art cinemas (use of non professional actors, very long takes, minimal dialogue and editing \u2013 as in Amat Escalante\u2019s <i>Los bastardos<\/i>, Lisandro Alonso&#8217;s <i>Liverpool<\/i> and Carlos Reygadas\u2019 work). Del Llano\u2019s films are incredibly well crafted and humorous vignettes that cover a range of issues that Cuban\u2019s deal with frequently. They attest to the growing importance of independent cinema in Cuba and the decentralization of filmmaking and displacement of ICAIC as the centre of filmmaking (indeed watch out for the next blog post for more on this).<\/p>\n\n\n\n<p>* In \u2018The ballad of Nicanor\u2018 written by Frank Delgado and Del Llano and performed by Delgado, which plays in a variety of different styles over the credits of each cortometraje, the lyrics includes (\u2018cada uno de nosotros lleva adentro un Nicanor\u2019).<\/p>\n\n\n\n<p>**According to an article in<em> El Diario de la juventud rebelde<\/em> this is D\u00edaz Torres\u2019 first digitally captured film.<a rel=\"noreferrer noopener\" href=\"http:\/\/www.juventudrebelde.cu\/cultura\/2012-12-15\/la-pelicula-de-ana-tiene-su-historia-\/\" target=\"_blank\"> http:\/\/www.juventudrebelde.cu\/cultura\/2012-12-15\/la-pelicula-de-ana-tiene-su-historia-\/<\/a> \u2014Es la primera pel\u00edcula que yo realizo con tecnolog\u00eda digital, y por lo tanto intentamos que la textura del digital formara parte de todo. La pel\u00edcula est\u00e1 filmada con distintas c\u00e1maras digitales. La obra documental que realiza Ana est\u00e1 filmada con una c\u00e1mara menos profesional; la que toman los extranjeros est\u00e1 rodada con una c\u00e1mara distinta, mientras que la nuestra tambi\u00e9n precis\u00f3 de otra muy diferente. De esta manera se establece un juego de texturas que se empastan org\u00e1nicamente en la historia.<\/p>\n\n\n\n<p>*** In&nbsp;<em>Ach\u00e9 &#8212; <\/em>shown at a Muestra de Cine independiente Cubano in Argentina 2012 &#8212; Nicanor gets into all kinds of problems when he has to get a new flag for his house.&nbsp;<em>Brainstorm&nbsp;<\/em>is a highly critical representation of the Cuban press. After a sport\u2019s stadium is hit by a meteorite killing a hundred spectators, at an editorial meeting the different editor\u2019s discuss how to spin the event on their front page.<\/p>\n\n\n\n<p>****<em>Suite Havana<\/em>&nbsp;does this specifically through close ups on domestic objects; a ringing alarm clock, a bubbling coffee pot, an onion being sliced and a boiling pressure cooker. The impossible depth of field and colour palette of high definition digital images of the film, looks considerably different to the muted monochrome colour palette of mainstream cinema. Viewed on DVD (and not on its 35mm transfer at the cinema)&nbsp;<em>Suite Habana&nbsp;<\/em>thus takes on an extraordinary self-reflexive structure signalling a defiant hyper-realist and postcolonial stance towards a Western cinematic mainstream.<\/p>\n\n\n\n<div>\n<p><strong>Bibliography:<\/strong><\/p>\n<p>Burnett, Victoria (2013) \u201cA new era\u2019s filmmakers find their way in Cuba\u201d <i>New York Times <\/i>January 4. Accessed at <a href=\"http:\/\/www.nytimes.com\/2013\/01\/05\/movies\/digital-technology-is-making-its-mark-in-cuba.html?_r=1&amp;\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.nytimes.com\/2013\/01\/05\/movies\/digital-technology-is-making-its-mark-in-cuba.html?_r=1&amp;<\/a> on January 12<sup>th<\/sup> 2013.<\/p>\n<p>Garc\u00eda Borrerro, Juan Anotnio (2009) \u2018<i>Brainstorm<\/i> (2008), de Eduardo del Llano\u2019 Accessed at http:\/\/cinecubanolapupilainsomne.wordpress.com\/2009\/03\/27\/brainstorm-2008-de-eduardo-del-llano\/<\/p>\n<p>Chanan, Michael (2004) <i>Cuban Cinema<\/i> Minneapolis: University of Minnesota Press<\/p>\n<p>Juhasz, Alexandra (2008) \u201cDocumentary on YouTube: the failure of the direct cinema of the slogan\u201d <i>Rethinking Documentary: New Perspectives, New Practices<\/i> Open University Press.pp. 299-<\/p>\n<p>L\u00f3pez, Ana (2013) Interview with the Author.<\/p>\n<p>Sol\u00e1s, Humberto (2004) \u201cManifesto de cine pobre\u201d (<a href=\"http:\/\/www.cubacine.cu\/cinepobre\/espanol\/manifiesto.htm\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.cubacine.cu\/cinepobre\/espanol\/manifiesto.htm<\/a>)<\/p>\n<p>Stock, Ann Marie (2009) <i>On Location in Cuba: Street Filmmaking in Times of Transition <\/i>Chapel Hill: University of North Carolina Press.<\/p>\n<p>Tierney, Dolores (2007) \u2018La imagen digital en Cuba y Colombia\u2019 <i>Cuadernos Hispanoamericanos <\/i>679, 45-56<\/p>\n<p>Venegas, Cristina (2010) <i>Digital Dilemmas<\/i> Rutgers University Press<\/p>\n<hr align=\"left\" size=\"1\" width=\"33%\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Medi\u00e1tico presents an entry by one of its founding co-editors, Dolores Tierney, Senior Lecturer in the School of Media, Film&#8230;<\/p>\n","protected":false},"author":17,"featured_media":16,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,6],"tags":[7,54,8],"class_list":["post-13","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-new-media","tag-cuba","tag-dolores-tierney","tag-eduardo-del-llano"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2013\/12\/gramado-02.jpg","jetpack_shortlink":"https:\/\/wp.me\/p49QSj-d","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/13","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/users\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/comments?post=13"}],"version-history":[{"count":21,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/13\/revisions"}],"predecessor-version":[{"id":2961,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/13\/revisions\/2961"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/media\/16"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/media?parent=13"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/categories?post=13"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/tags?post=13"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}