{"id":2352,"date":"2019-04-02T11:35:38","date_gmt":"2019-04-02T02:35:38","guid":{"rendered":"http:\/\/www.the-concrete.org\/?p=2352"},"modified":"2019-04-02T11:40:25","modified_gmt":"2019-04-02T02:40:25","slug":"shadow-and-act","status":"publish","type":"post","link":"https:\/\/www.the-concrete.org\/en\/work\/cinema\/shadow-and-act\/","title":{"rendered":"Shadow and Act"},"content":{"rendered":"<p>Shadow and Act navigates through the remains of Chaya Jitrakorn, built in 1940, once the most prominent photo studio in Thailand and the only preferred studio of director Field Marshal Plaek Phibunsongkhram. The iflm explores the studio&#8217;s seventy two year archives and its owner&#8217;s personal photographs, while representing the defunct studio like the corpse of a deceased giant. The film experiments with the relationships between memory and space, and the past and future.(https:\/\/www.acc.go.kr\/en\/board\/schedule\/event\/2610)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Shadow and Act navigates through the remains of Chaya Jitrakorn, built in 1940, once the most prominent photo studio in Thailand and the only preferred studio of director Field Marshal Plaek Phibunsongkhram. The iflm explores the studio&#8217;s seventy two year archives and its owner&#8217;s personal photographs, while representing the defunct studio like the corpse of a deceased giant. The film experiments with the relationships between memory and space, and the past and future.(https:\/\/www.acc.go.kr\/en\/board\/schedule\/event\/2610)<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[5],"tags":[],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2352"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=2352"}],"version-history":[{"count":2,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2352\/revisions"}],"predecessor-version":[{"id":2354,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2352\/revisions\/2354"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=2352"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=2352"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=2352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}