{"id":16823,"date":"2015-05-25T01:57:00","date_gmt":"2015-05-25T00:57:00","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=16823"},"modified":"2015-05-25T01:57:00","modified_gmt":"2015-05-25T00:57:00","slug":"ballet-adagio-a-film-by-norman-mclaren","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/05\/25\/ballet-adagio-a-film-by-norman-mclaren\/","title":{"rendered":"Ballet Adagio, a film by Norman McLaren"},"content":{"rendered":"

\"ballet.jpg\"<\/a><\/p>\n

In which Norman McLaren once more brings film technology to the world of dance.\u00a0McLaren’s earlier Pas de Deux<\/em><\/a> (1968) used optical printing to multiply the movements of the dancers in a manner similar to Marey’s chronophotographs<\/a>; in Ballet Adagio<\/em><\/a> the entire dance is shown in slow motion, a common enough technique but one you seldom see applied to ballet. The music is Albinoni’s Adagio<\/em>. The latter technique was employed again in the homoerotic Narcissus<\/em><\/a> (1983) which can be seen in full at the NFB website.<\/p>\n

Previously on { feuilleton }
\n\u2022 Lodela, a film by Philippe Baylaucq<\/a>
\n\u2022 Pas de Deux by Norman McLaren<\/a>
\n\u2022 Norman McLaren<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In which Norman McLaren once more brings film technology to the world of dance.\u00a0McLaren’s earlier Pas de Deux (1968) used optical printing to multiply the movements of the dancers in a manner similar to Marey’s chronophotographs; in Ballet Adagio the entire dance is shown in slow motion, a common enough technique but one you seldom … Continue reading “Ballet Adagio, a film by Norman McLaren”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"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":[56,7],"tags":[225,159],"class_list":["post-16823","post","type-post","status-publish","format-standard","hentry","category-dance","category-film","tag-narcissus","tag-norman-mclaren"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4nl","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16823","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=16823"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16823\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=16823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=16823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=16823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}