{"id":83339,"date":"2018-06-30T00:00:01","date_gmt":"2018-06-30T00:00:01","guid":{"rendered":"http:\/\/www.thevisualist.org\/?p=83339"},"modified":"2018-07-01T07:35:52","modified_gmt":"2018-07-01T12:35:52","slug":"emily-esperanza-wretched-woman","status":"publish","type":"post","link":"https:\/\/thevisualist.org\/2018\/06\/emily-esperanza-wretched-woman\/","title":{"rendered":"Emily Esperanza: Wretched Woman"},"content":{"rendered":"<p>Emily Esperanza &#8211; Wretched Woman<br \/>\nWith Filmmaker Emily Esperanza in Person<br \/>\nEmily Esperanza&#8217;s Wretched Woman is a collection of short films and videos that utilize duration and soundscape to explore gendered spaces, female sexuality\/sensuality, and archetype through a series of atmospheric tableaux.<\/p>\n<p>The program includes:<\/p>\n<p>Maiden (2017, 13 min)<br \/>\nA meditation on the maiden archetype through a landscape of sound, light, and shadow.<br \/>\nHail Mary (2017, 16 min)<br \/>\nA &#8220;moving painting&#8221;, an exercise in holding space.<br \/>\nMassillon (2016, 2 min)<br \/>\nAnalog ruminations in a haunted house.<br \/>\nSeverance (2016, 5 min)<br \/>\nA video ritual in the desert.<br \/>\nNECESSITY\/LUXURY (2016, 13 min)<br \/>\nA study of time, repetition, and intention set in a liminal southwestern motel room.<br \/>\nGLORY\/INFERNO (2015, 23 min)<br \/>\nA murder mystery, in two parts.<\/p>\n<p>All Digital Projection.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Emily Esperanza &#8211; Wretched Woman With Filmmaker Emily Esperanza in Person Emily Esperanza&#8217;s Wretched Woman is a collection of short films and videos that utilize duration and soundscape to explore gendered spaces, female sexuality\/sensuality, and archetype through a series of atmospheric tableaux. The program includes: Maiden (2017, 13 min) A meditation on the maiden archetype<a href=\"https:\/\/thevisualist.org\/2018\/06\/emily-esperanza-wretched-woman\/\" class=\"read-more\">Continue Reading<\/a><\/p>\n","protected":false},"author":9,"featured_media":83340,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[55],"tags":[397,154995,3707,155878,89397,186421],"class_list":["post-83339","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-screening","tag-chicago","tag-chicago-filmmakers","tag-edgewater","tag-emily-esperanza","tag-illinois","tag-wretched-woman","cat-55-id"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/thevisualist.org\/wp-content\/uploads\/2018\/06\/30-Jun-2018__Emily-Esperanza-Wretched-Woman__Chicago-Filmakers.jpg","_links":{"self":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/83339","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/comments?post=83339"}],"version-history":[{"count":1,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/83339\/revisions"}],"predecessor-version":[{"id":83348,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/83339\/revisions\/83348"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/media\/83340"}],"wp:attachment":[{"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/media?parent=83339"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/categories?post=83339"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thevisualist.org\/wp-json\/wp\/v2\/tags?post=83339"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}