{"id":2728,"date":"2008-01-07T21:49:41","date_gmt":"2008-01-07T21:49:41","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=2728"},"modified":"2008-07-19T17:01:26","modified_gmt":"2008-07-19T16:01:26","slug":"shadow-of-the-house","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/01\/07\/shadow-of-the-house\/","title":{"rendered":"Shadow of the House"},"content":{"rendered":"<p><a href=\"http:\/\/shadowofthehouse.com\/\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/01\/soth.jpg\" alt=\"soth.jpg\" \/><\/a><\/p>\n<p>After writing about <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/12\/10\/abelardo-morells-camera-obscura\/\">Abelardo Morell&#8217;s remarkable camera obscura photographs<\/a> last month, filmmaker Allie Humenuk left a comment about her documentary which explores Morell&#8217;s work and working methods.<\/p>\n<blockquote><p><em>Shadow of the House<\/em> is about looking closely. Filmed over seven years, it is an intimate portrait of photographer <a href=\"http:\/\/www.abelardomorell.net\/\" target=\"_blank\">Abelardo Morell<\/a>, revealing the mystery and method of his artistic process. The narrative skips across time and space from his early childhood escape from Castro\u2019s regime to his status as a world-renowned photographer. The film explores his daily working life as an artist and his eventual return to Cuba after 40 years of living in exile. <em>Shadow of the House<\/em> uncovers the deep layers of a man who is pushed to confront his past and his familial allegiances as it explores his unique artistic vision.<\/p><\/blockquote>\n<p>The <a href=\"http:\/\/shadowofthehouse.com\/\" target=\"_blank\">film website<\/a> has a lot more information, including details of North American screenings, and a trailer.<\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/12\/10\/abelardo-morells-camera-obscura\/\">Abelardo Morell\u2019s camera obscura<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2006\/12\/03\/abelardo-morell\/\">Abelardo Morell<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>After writing about Abelardo Morell&#8217;s remarkable camera obscura photographs last month, filmmaker Allie Humenuk left a comment about her documentary which explores Morell&#8217;s work and working methods. Shadow of the House is about looking closely. Filmed over seven years, it is an intimate portrait of photographer Abelardo Morell, revealing the mystery and method of his &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/01\/07\/shadow-of-the-house\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Shadow of the House&#8221;<\/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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,7,12],"tags":[8133],"class_list":["post-2728","post","type-post","status-publish","format-standard","hentry","category-art","category-film","category-photography","tag-abelardo-morell"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-I0","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2728","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=2728"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2728\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=2728"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=2728"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=2728"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}