{"id":237126,"date":"2023-05-15T22:49:37","date_gmt":"2023-05-15T22:49:37","guid":{"rendered":"https:\/\/dantefilm.com\/?page_id=237126"},"modified":"2023-05-15T23:12:38","modified_gmt":"2023-05-15T23:12:38","slug":"237126-2","status":"publish","type":"page","link":"https:\/\/dantefilm.com\/","title":{"rendered":"Dante’s Inferno | Main"},"content":{"rendered":"

[et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.19.5″ _module_preset=”default” background_color=”rgba(0,0,0,0.88)” sticky_position=”top” global_colors_info=”{}”][et_pb_fullwidth_menu menu_id=”9″ menu_style=”centered” dropdown_menu_bg_color=”RGBA(255,255,255,0)” dropdown_menu_line_color=”RGBA(255,255,255,0)” dropdown_menu_text_color=”#ffffff” _builder_version=”4.21.0″ _module_preset=”default” menu_font=”Rakkas||||||||” menu_text_color=”#ffffff” menu_font_size=”19px” background_color=”rgba(43,0,0,0.74)” global_colors_info=”{}”][\/et_pb_fullwidth_menu][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.19.4″ _module_preset=”default” background_video_mp4=”https:\/\/xenonpictures.com\/wp\/wp-content\/uploads\/2023\/01\/WEB-BG-DANTEsLOWER.mp4″ background_video_width=”100%” width=”100%” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.19.5″ _module_preset=”default” width=”65%” max_width=”2560px” custom_margin=”|auto||auto|false|true” custom_padding=”||0px|||” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”Anton||||||||” text_text_color=”#ffffff” text_font_size=”39px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Dermot Mulroony<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”Anton||||||||” text_text_color=”#ffffff” text_font_size=”39px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

James Cromwell<\/p>\n

 <\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” text_font=”Anton||||||||” text_text_color=”#ffffff” text_font_size=”39px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Martha Plimpton<\/p>\n

 <\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/dante-logo.png” title_text=”dante-logo” _builder_version=”4.19.5″ _module_preset=”default” background_enable_video_mp4=”off” width=”89%” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.19.4″ _module_preset=”default” use_background_color_gradient=”on” background_color_gradient_stops=”#5e0101 0%|#0a0000 100%” custom_margin=”-22px|||||” custom_padding=”||165px|||” global_colors_info=”{}”][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”INFO” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#f4f400″ text_font_size=”34px” text_line_height=”1em” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

DANTE\u2019S INFERNO has been kicking around the cultural playground for over 700 years. But it has never before been interpreted with exquisitely hand-drawn paper puppets, brought to life using purely hand-made special effects. <\/span><\/p>\n

Until now. <\/span><\/p>\n

Rediscover this literary classic, retold in a kind of apocalyptic graphic novel meets Victorian-era toy theater. <\/span><\/p>\n

Dante\u2019s Hell is brought to lurid 3-dimensional, high-definition life in a darkly comedic travelogue of the underworld \u2014 set against an all-too-familiar urban backdrop of used car lots, gated communities, strip malls, and the U.S. Capitol. And populated with a contemporary cast of reprobates, including famous \u2014 and infamous \u2014 politicians, presidents, popes, pimps…and the Prince of Darkness himself.<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”||0px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”this stuff” module_class=”XPIDIREV” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Anton||||||||” text_text_color=”#ffffff” text_font_size=”26px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”|100px||100px|false|true” global_colors_info=”{}”]<\/p>\n

“This stuff \u2013 exquisite mixtures of the grandly fabled and the South Bay prosaic, hand-painted two-dimensional puppets moving by hand and wire through a hand painted hell via traditional filmic and theatrical techniques \u2013 is intoxicating. “<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_2,1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”|0px||0px|false|true” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Alegreya Sans||||||||” text_text_color=”#d3d3d3″ text_font_size=”28px” text_orientation=”center” custom_margin=”|7px||7px|false|true” global_colors_info=”{}”]<\/p>\n

Dave Shulman<\/p>\n

[\/et_pb_text][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/LAWEEKLYwt.png” title_text=”LAWEEKLYwt” align=”center” admin_label=”LAWEEK” _builder_version=”4.19.5″ _module_preset=”default” width=”18%” filter_saturate=”102%” filter_brightness=”84%” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”|0px||0px|false|true” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”63px||3px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”%22…feels like the unholy offspring of Mike Judge and Robert Crumb.%22″ module_class=”XPIDIREV” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Anton||||||||” text_text_color=”#ffffff” text_font_size=”45px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”|89px||89px|false|true” global_colors_info=”{}”]<\/p>\n

“…feels like the unholy offspring of Mike Judge and Robert Crumb.”<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_2,1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”|0px||0px|false|true” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”|0px||0px|false|true” global_colors_info=”{}”][et_pb_text admin_label=”Robert Abele” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Alegreya Sans||||||||” text_text_color=”#d3d3d3″ text_font_size=”28px” text_orientation=”center” custom_margin=”|7px||7px|false|true” global_colors_info=”{}”]<\/p>\n

Robert Abele<\/p>\n

[\/et_pb_text][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/Los-Angeles-TimesWHITE.png” title_text=”Los-Angeles-TimesWHITE” align=”center” admin_label=”TIMES” _builder_version=”4.19.5″ _module_preset=”default” width=”38%” filter_saturate=”102%” filter_brightness=”84%” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”|0px||0px|false|true” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”63px||3px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”\u201cOne of the best-looking films in Park City\u2026” module_class=”XPIDIREV” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Anton||||||||” text_text_color=”#ffffff” text_font_size=”32px” text_line_height=”1.4em” text_orientation=”center” custom_padding=”|53px||53px|false|true” global_colors_info=”{}”]<\/p>\n

\u201cOne of the best-looking films in Park City\u2026wondrously detailed\u2026I couldn’t take my eyes off it.\u201d<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_2,1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”|0px||0px|false|true” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/WIRED.png” title_text=”WIRED” admin_label=”wired” _builder_version=”4.19.5″ _module_preset=”default” width=”33%” module_alignment=”center” custom_margin=”|93px||93px||true” filter_opacity=”72%” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”|0px||0px|false|true” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”TRAILER” _builder_version=”4.19.5″ _module_preset=”default” use_background_color_gradient=”on” background_color_gradient_stops=”#4c060a 0%|#0a0202 100%” background_image=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/CURTAIN.png” background_position=”top_center” global_colors_info=”{}”][et_pb_row column_structure=”1_5,3_5,1_5″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_5″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https:\/\/vimeo.com\/809197595″ image_src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/trailerbutton.png” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_video][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”52px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”SYNOPSIS” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”35px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Synopsis<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Average||||||||” text_text_color=”#EDF000″ text_font_size=”25px” text_orientation=”center” min_height=”447.3px” custom_margin=”-11px|||||” global_colors_info=”{}”]<\/p>\n

 <\/p>\n

Melding the seemingly disparate traditions of apocalyptic live-action graphic novel and charming Victorian-era toy theater, Dante\u2019s Inferno is a subversive, darkly satirical update of the original 14th century literary classic. Retold with the use of intricately hand-drawn paper puppets and miniature sets, and without the use of CGI effects, this unusual travelogue takes viewers on a tour of hell. And what we find there, looks a lot like the modern world.<\/p>\n

Sporting a hoodie and a hang-over from the previous night\u2019s debauchery, Dante (voiced by Dermot Mulroney) wakes to find he is lost \u2014 physically and metaphorically \u2014 in a strange part of town. He asks the first guy he sees for some help: The ancient Roman poet Virgil (voiced by James Cromwell), wearing a mullet and what looks like a brown bathrobe. Having no one else to turn to, Dante\u2019s quickly convinced that his only means for survival is to follow Virgil voyage down, down through the depths of Hell.<\/p>\n

The pair cross into the underworld and there Virgil shows Dante the underbelly of the Inferno, which closely resembles the decayed landscape of modern urban life. Dante and Virgil\u2019s chronicles are set against a familiar backdrop of used car lots, strip malls, gated communities, airport security checks, and the U.S. Capitol. Here, hot tubs simmer with sinners, and the river Styx is engorged with sewage swimmers.<\/p>\n

Also familiar is the contemporary cast of presidents, politicians, popes and pop-culture icons sentenced to eternal suffering of the most cruel and unusual kind: Heads sewn on backwards, bodies wrenched in half, never-ending blowjobs, dancing to techno for eternity, and last, but certainly not least, an inside look at Lucifer himself, from the point of view of a fondue-dunked human appetizer. Each creatively horrific penance suits the crime, and the soul who perpetrated it.<\/p>\n

As Dante spirals through the nine circles of hell, he comes to understand the underworld\u2019s merciless machinery of punishment, emerging a new man destined to change the course of his life. But not, of course, the brand of his beer.<\/p>\n

 <\/p>\n

 <\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”DANTE” _builder_version=”4.19.5″ _module_preset=”default” use_background_color_gradient=”on” background_color_gradient_stops=”#4c060a 0%|#0a0202 100%” background_image=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/CURTAIN.png” background_position=”top_center” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/30119035869.png” title_text=”30119035869″ _builder_version=”4.19.5″ _module_preset=”default” width=”60%” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/Dante_Alighieri_4608.jpg” title_text=”(c) Dulwich Picture Gallery; Supplied by The Public Catalogue Foundation” show_in_lightbox=”on” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/the-divine-comedy-9781607109914_hr.jpg” title_text=”the-divine-comedy-9781607109914_hr” _builder_version=”4.19.5″ _module_preset=”default” transform_rotate=”0deg|0deg|12deg” width=”60%” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”52px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”35px” text_orientation=”center” global_colors_info=”{}”]Dante and his Comedy[\/et_pb_text][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”-11px|||||” global_colors_info=”{}”]<\/p>\n

HIS LIFE<\/span>
Born in Florence, Italy, Dante was a poet and politician who is generally credited with \u201ccreating\u201d \u2013 or standardizing \u2013 the Italian language through the popularity of his writings. At age nine, he met Beatrice Portinari \u2013 a chance occurrence that had a profound effect on his life, as she came to embody pure Love in his work. Involved in the politics of his day, he was exiled for life from Florence at age 36 and never returned, dying in Ravenna at age 56.<\/p>\n

HIS MASTERPIECE<\/span>
Dante Alighieri\u2019s epic poem \u201cThe Divine Comedy\u201d has long been considered one of the most important works in Western literature. Written in the 14th Century in Italy, it incorporated the most profound theological concepts of the day and blended them with a vast knowledge of history, philosophy, astronomy, medicine, and geography into an envisioned tour of the afterlife. Often divided into three books \u2013 Inferno, Purgatorio, and Paradiso \u2013 the epic poem traces Dante\u2019s imaginary journey through the various levels of the afterlife. Descending first into Hell in \u201cInferno\u201d, Dante is guided by the ghost of the Roman poet Virgil. Along the way they meet historical personages and people from Dante\u2019s hometown of Florence, witness the tortures and punishments of Hell, and discuss the universal and timeless themes of morality and justice.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_4,1_4,1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/dore1500x-1.jpg” title_text=”dore1500x-1″ show_in_lightbox=”on” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/the-inferno-canto750x.jpg” title_text=”the-inferno-canto750x” show_in_lightbox=”on” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/dore1500x-2.jpg” title_text=”dore1500x-2″ show_in_lightbox=”on” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/dore1500x-3.jpg” title_text=”dore1500x-3″ show_in_lightbox=”on” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_text_color=”#ededed” text_orientation=”center” custom_margin=”-25px||||false|false” global_colors_info=”{}”]<\/p>\n

Examples of Gustave Dor\u00e9’s incredible engravings for an 1861 edition of Dante’s masterpiece.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”DANTE” _builder_version=”4.19.5″ _module_preset=”default” use_background_color_gradient=”on” background_color_gradient_stops=”#4c060a 0%|#0a0202 100%” background_image=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/CURTAIN.png” background_position=”top_center” global_colors_info=”{}”][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”22px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”ART” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”35px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

The Art<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”||11px|||” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/dore1500x-1.jpg” title_text=”dore1500x-1″ show_in_lightbox=”on” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/Canto0008.jpg” title_text=”Canto0008″ show_in_lightbox=”on” _builder_version=”4.19.5″ _module_preset=”default” width=”64%” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https:\/\/vimeo.com\/810718431″ play_icon_color=”RGBA(255,255,255,0)” thumbnail_overlay_color=”RGBA(255,255,255,0)” _builder_version=”4.19.5″ _module_preset=”default” custom_margin=”|||-24px||” custom_padding=”34px||34px|||” global_colors_info=”{}”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_text_color=”#ffffff” text_orientation=”center” custom_margin=”-18px||||false|false” global_colors_info=”{}”]<\/p>\n

Gustave Dor\u00e9<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_text_color=”#ffffff” text_orientation=”center” custom_margin=”-18px||||false|false” global_colors_info=”{}”]<\/p>\n

Sandow Birk<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_text_color=”#ffffff” text_orientation=”center” custom_margin=”-18px||||false|false” global_colors_info=”{}”]<\/p>\n

The film<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_margin=”-15px|auto||auto||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” text_text_color=”#ffffff” text_font_size=”16px” text_orientation=”center” custom_margin=”-18px||||false|false” global_colors_info=”{}”]<\/p>\n

Three interpretations of Canto VIII in which Charon ferries souls across the river Acheron and into Hell.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_margin=”11px|auto||auto||” custom_padding=”26px||0px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”5px|||||” custom_padding=”||4px|||” global_colors_info=”{}”]<\/p>\n

It was artist Sandow Birk\u2019s random discovery of an old copy of The Divine Comedy in a used bookstore in Los Angeles that sparked the five-year project. The worn volume featured the iconic illustrations of French engraver Gustave Dor\u00e9 from the late 1800\u2019s. Sandow was captivated not only by the classic text and its vivid depictions of the afterlife, but also by the exquisite, detailed images that placed Dante\u2019s poem in a concrete reality.<\/p>\n

The book floated around Sandow\u2019s art studio for more than a year. Eventually he realized that both Dante and Dor\u00e9 were a starting point for a new project. The concept was to mimic the style and feel of Dor\u00e9\u2019s illustrations, while depicting urban America in the 21st Century. Soon Birk realized that illustrating a text was useless without the text itself, and it was while sitting in a bar with his writer friend Marcus Sanders that he mentioned the project and his search for a useable English translation that was true to the original and yet spoke to a contemporary audience. \u201cWe could do it ourselves,\u201d Marcus said, after perhaps one too many pints.\u00a0<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”28px||0px|||” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”40px||40px||true|false” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/Visions.jpg” title_text=”Visions” url=”https:\/\/rmc.library.cornell.edu\/visionsofdante\/art_birk.php” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#eaeaea” text_font_size=”20px” text_orientation=”center” link_option_url=”https:\/\/rmc.library.cornell.edu\/visionsofdante\/art_birk.php” global_colors_info=”{}”]<\/p>\n

>\u00a0Sandow Birk featured in Cornell University’s “Visions of Dante”<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”auto||||false|false” custom_padding=”37px||37px||true|false” global_colors_info=”{}”]<\/p>\n

The project developed with Trillium Press into an ornate book Dante\u2019s Inferno, printed in an edition of 100, containing 72 hand-printed lithographs and bound in gold-stamped leather. Dante\u2019s Purgatorio and Dante\u2019s Paradiso followed, and all three books were published in commercial editions by Chronicle Books to great success \u2013 garnering reviews in the London Review of Books, the Wall Street Journal, and selected as one of the \u201cBest Books of 2005\u201d by National Public Radio\u2019s David Kipen.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”26px||89px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”-18px|||||” global_colors_info=”{}”]<\/p>\n

\u00a0Each of the three books was presented as an art exhibition that featured all of the original drawings along with several large oil paintings of the key scenes, and with the elaborate volumes displayed. In Birk and Sanders\u2019 adaptations, each of the three levels of Dante\u2019s afterlife is represented by a different American city, and the exhibitions were held in those cities. \u201cDante\u2019s Inferno\u201d was shown at the Koplin Del Rio Gallery in Los Angeles in 2003, \u201cDante\u2019s Purgatorio\u201d at the Catharine Clark Gallery in San Francisco in 2004, and \u201cDante\u2019s Paradiso\u201d at PPOW Gallery in New York City in 2005.<\/p>\n

Curator Susan Landauer at the San Jose Museum of Art saw the exhibitions and realized the impact they would have if they were united into one large show, and so in 2005 the SJMA presented the exhibition \u201cSandow Birk\u2019s Divine Comedy\u201d, bringing all of the works together for the first time. The exhibition then traveled to the Grand Central Art Center in Santa Ana, California, and then on to the Art Museum of South Texas in Corpus Christi, and to the Mesa Art Center in Phoenix, Arizona.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#ededed” text_font_size=”29px” text_orientation=”center” custom_margin=”-25px||||false|false” custom_padding=”|54px|3px|54px|false|true” global_colors_info=”{}”]<\/p>\n

Based on Dor\u00e9’s 19th Century engravings,\u00a0 here are Sandow Birk\u2019s remarkable, updated visions for each of “Inferno’s” 34 cantos.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” module_alignment=”center” custom_padding=”9px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_gallery gallery_ids=”23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48,49,18,50,51,52,53,54,55″ orientation=”portrait” show_title_and_caption=”off” module_class=”FARTmh-gallery-square” _builder_version=”4.19.5″ _module_preset=”default” pagination_font=”Rakkas||||||||” pagination_text_align=”center” pagination_text_color=”#ffffff” pagination_font_size=”24px” max_width=”100%” module_alignment=”center” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”DANTE” _builder_version=”4.19.5″ _module_preset=”default” use_background_color_gradient=”on” background_color_gradient_stops=”#4c060a 0%|#0a0202 100%” background_image=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/CURTAIN.png” background_position=”top_center” global_colors_info=”{}”][et_pb_row module_id=”ARTDIRECTION” _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”22px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/P6240052.jpg” title_text=”P6240052″ align=”center” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”Building the Underworld: Art Direction” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”35px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Building the Underworld: Art Direction<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”From the outset of the project, there was the intention to make a contemporary film without th” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”8px|||||” global_colors_info=”{}”]<\/p>\n

From the outset of the project, there was the intention to make a contemporary film without the aid of any computer effects whatsoever \u2013 to make a film that was true to a toy theatre production of the Victorian era, a hand-made film. If it couldn\u2019t be done with tape, string, and glue, then it wasn\u2019t to be in the film.<\/p>\n

As with the book projects, the inspiration for the look of the film were the engravings of Gustave Dor\u00e9, but now developed in the contemporary works of Birk\u2019s illustrations \u2013 setting the action in urban America. The filmmakers wanted to retain the look of engravings in both the puppets and the world they inhabit, with dense line work and an intricate drawing style full of small details, and the film was shot in high-definition video to capture the ornate drawings and the intensities of colors throughout the film.<\/p>\n

As the script was developed, each scene of the film was storyboarded and the action was broken down to specific movements and facial expressions. For each new feeling or action, a new puppet had to be made – more than 100 for protagonist Dante alone – resulting in more than 500 puppets in the production. The puppets were hand-drawn on artists\u2019 board, then hand-colored and cut out with scissors and razor blades.<\/p>\n

Each moving part of the characters had to be built and joined separately, the joints connected using fishing line and wire and manipulated by metal rods or wooden sticks (disposable chopsticks were particularly good). As the production progressed, periodic meetings with the puppeteers were held to rehearse the use of the puppets and to allow for alterations in their functions to match their choreographed movements.<\/p>\n

Most of the action was shot on a wooden stage roughly the size of a pool table. The proscenium was built with functioning curtains and a removable floor. The film required 46 sets to be built, and color schemes were chosen to reflect the mood and feeling of each scene, adding emotional depth.<\/p>\n

The combination of state-of-the-art photography techniques and the hand-made feel of the production combine to create a visually exhilarating film, where the enchanting aura of puppets and dollhouses blends with the serious nature of the plot and dialog to captivate and invoke contemplation. \u201cDante\u2019s Inferno\u201d is a unique film – stunning, engaging, personal and meaningful \u2013 hand-made in the age of computer effects.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”TOY” _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”26px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/P6240017.jpg” title_text=”P6240017″ align=”center” admin_label=”toy theater photo” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”Toy Theater: What and Why?” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”35px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Toy Theater: What and Why?<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”toy theater text” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”8px|||||” global_colors_info=”{}”]<\/p>\n

The film DANTE\u2019S INFERNO is performed entirely on a toy theater stage, using small paper puppets, props, and sets to create an entire world\u2026or underworld, in this case.<\/p>\n

A contemporary version of Dante\u2019s hellish adventure presented a problem when we decided we wanted to translate Sandow Birk\u2019s artworks into a film. Live action wasn\u2019t an interesting option, as it seemed too limiting. Toy theater, on the other hand, had the advantage of being almost unlimited in what we could create and unleash on an unsuspecting audience. And the form presented a three dimensional way to bring Sandow\u2019s prints and painting to life.<\/p>\n

Toy theater began in England in the latter half of the 18th century as a diversion for children, mainly boys, when the form was also know as \u201cJuvenile Drama.\u201d Kids would purchase what was called \u201cpenny plain and twopence coloured\u201d sheets that had characters and sets printed by a host of publishers, including the most famous, Pollack\u2019s. The publishing houses based the sets on both classical and contemporary plays, sending artists to professional productions to sketch the scenes and turn them into toy theaters.<\/p>\n

The figures and scenery would be snipped off the sheets and then mounted onto small wooden blocks and horizontal wires for manipulation. Sometimes the puppets were operated with vertical wires through tracks cut in the stage floor. The main characters came in a number of different poses suitable for the action of the show, and elaborate scenery and wings were included. Plus there was an abridged script enclosed so the whole family could set up and play the show in the living room.<\/p>\n

The show would be performed in a miniature version of a stage\u2019s proscenium, as Pollack\u2019s and others made copies of renowned theaters and opera houses of the period. Laurence Olivier, Ingmar Bergman, and Orson Welles built and played with toy theaters in anticipation of their work as adults.<\/p>\n

There is currently a renaissance of the art form that has been spearheaded by the New York based theater company, Great Small Works, who consulted on the INFERNO. In addition to performing their own new toy theater shows, GSW produces festivals of the form every two years in New York. Puppeteers all over America and Europe have embraced this miniature and elegant form in an explosion of new toy theater productions that fly in the face of the high tech entertainments we are bombarded with on a daily basis.<\/p>\n

SOURCES:
Theatre on a Tabletop by Kuang-Yu Fong and Stephen Kaplin, New Plays Incorporated, 2003
Strings Hands Shadows by John Bell, Detroit Institute for the Arts, 2000
Puppets and the Puppet Stage by Cyril W. Beaumont, Studio Publications, Incorporated, 1938<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Technical notes” module_id=”NOTES” _builder_version=”4.21.0″ _module_preset=”default” custom_padding=”57px|||||” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/dantefilm.com\/wp-content\/uploads\/2023\/05\/IMG_0606.jpg” title_text=”IMG_0606″ align=”center” admin_label=”tech photo” _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”Technical notes” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”35px” text_orientation=”center” global_colors_info=”{}”]<\/p>\n

Technical notes<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”The sets and puppets were so detailed and rich with textures of the ink and paper that it was decided to shoot in high definition video using 24p (progressive) not 60i (interlaced) video). The sharpness of 24p allows the great detail to be captured and allows an easier workflow optio” _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”8px|||||” custom_padding=”||40px|||” global_colors_info=”{}”]<\/p>\n

The sets and puppets were so detailed and rich with textures of the ink and paper that it was decided to shoot in high definition video using 24p (progressive) not 60i (interlaced) video). The sharpness of 24p allows the great detail to be captured and allows an easier workflow option if a 35mm film out was needed for distribution. The film was shot using Panasonic\u2019s Varicam 720p HD camera.<\/p>\n

Two lenses were used during production. One was a 6-30mm Fujinon Cine-style HD lens for capturing definition and color detail. The other was the Innovision HD Probe lens system. It\u2019s a long narrow barrel lens system with interchangeable focal lengths. The main barrel is 19\u201d long and less than 1.7\u201d in diameter! A traditional cine-style lens can be over 6\u201d in diameter compared with the 1.7\u201d diameter of the HD Probe. The end of the barrel can use different focal length lenses along with 45\u00b0 and 90\u00b0 prisms. Most of the film was shot using the Innovision HD Probe with 45\u00b0 lens adapter. This configuration allowed the camera to view our 6\u201d puppets from low angles and see the world from the perspective of a 6\u201d puppet.<\/p>\n

It\u2019s one of the first independent HD feature films to be recorded directly from the camera to RAID hard drives as uncompressed video. The RAID was built using four sets of four Seagate 7200.8 400GB SATA drives (two sets for the master recording and two sets as backup). The drives were installed in an eight bay removable SATA tower and connected to a Macintosh G5 using a Sonnet PCI card that supplies eight external SATA ports. This is an economical way to get very fast RAID configurations, but the Sonnet card connections to the external tower are a little temperamental. Also, when using RAID 0 (our only option to fit our budget) there\u2019s no data redundancy, which makes it necessary to perform back-ups frequently. The RAIDs were configured using SoftRAID. Each evening after wrap every video file was backed up to one of the back-up RAID sets. As a third redundancy, tape was used. Also due to technical reasons recording to tape was necessary in order for the editing system to correctly record the video at 24p.<\/p>\n

The video was recorded as 10bit 4:2:2 720p23.98 Quicktime files, which uses about 58MB\/second of disk space. The video is recorded from the camera using a Blackmagic Decklink HD Pro PCI card. The fifteen hours of raw video data used up three terabytes of storage (plus a back-up of three more TB). That\u2019s three million megabytes. It was edited in HD using Final Cut Pro and was color corrected using Final Touch HD with a Barco 2K video projector at HollywoodDI. The film was color corrected and mastered to disk as a 10-bit 4:4:4 RGB Quicktime file and to HDCAM-SR tape at 1080p23.98.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Toy Theater: What and Why?” _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”22px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” custom_padding=”26px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” text_font=”Rakkas||||||||” text_text_color=”#EDF000″ text_font_size=”21px” custom_margin=”8px|||||” global_colors_info=”{}”]<\/p>\n

From the outset of the project, there was the intention to make a contemporary film without the aid of any computer effects whatsoever \u2013 to make a film that was true to a toy theatre production of the Victorian era, a hand-made film. If it couldn\u2019t be done with tape, string, and glue, then it wasn\u2019t to be in the film.<\/p>\n

As with the book projects, the inspiration for the look of the film were the engravings of Gustave Dor\u00e9, but now developed in the contemporary works of Birk\u2019s illustrations \u2013 setting the action in urban America. The filmmakers wanted to retain the look of engravings in both the puppets and the world they inhabit, with dense line work and an intricate drawing style full of small details, and the film was shot in high-definition video to capture the ornate drawings and the intensities of colors throughout the film.<\/p>\n

As the script was developed, each scene of the film was storyboarded and the action was broken down to specific movements and facial expressions. For each new feeling or action, a new puppet had to be made – more than 100 for protagonist Dante alone – resulting in more than 500 puppets in the production. The puppets were hand-drawn on artists\u2019 board, then hand-colored and cut out with scissors and razor blades.<\/p>\n

Each moving part of the characters had to be built and joined separately, the joints connected using fishing line and wire and manipulated by metal rods or wooden sticks (disposable chopsticks were particularly good). As the production progressed, periodic meetings with the puppeteers were held to rehearse the use of the puppets and to allow for alterations in their functions to match their choreographed movements.<\/p>\n

Most of the action was shot on a wooden stage roughly the size of a pool table. The proscenium was built with functioning curtains and a removable floor. The film required 46 sets to be built, and color schemes were chosen to reflect the mood and feeling of each scene, adding emotional depth.<\/p>\n

The combination of state-of-the-art photography techniques and the hand-made feel of the production combine to create a visually exhilarating film, where the enchanting aura of puppets and dollhouses blends with the serious nature of the plot and dialog to captivate and invoke contemplation. \u201cDante\u2019s Inferno\u201d is a unique film – stunning, engaging, personal and meaningful \u2013 hand-made in the age of computer effects.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Dermot MulroonyJames Cromwell  Martha Plimpton  DANTE\u2019S INFERNO has been kicking around the cultural playground for over 700 years. But it has never before been interpreted with exquisitely hand-drawn paper puppets, brought to life using purely hand-made special effects. Until now. Rediscover this literary classic, retold in a kind of apocalyptic graphic novel meets Victorian-era toy […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-template-blank.php","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-237126","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/pages\/237126","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/comments?post=237126"}],"version-history":[{"count":10,"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/pages\/237126\/revisions"}],"predecessor-version":[{"id":237942,"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/pages\/237126\/revisions\/237942"}],"wp:attachment":[{"href":"https:\/\/dantefilm.com\/index.php\/wp-json\/wp\/v2\/media?parent=237126"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}