May 31, 2011
Chapter 3: The Beach by M. Keegan Uhl
WINNER! Official Chapter 3 for Canon's The Story Beyond the Still contest.
Contest home page: vimeo.com/groups/beyondthestill
Chapter 1: vimeo.com/8595246 Chapter 2: vimeo.com/9394817
Written & Directed by M. Keegan Uhl, mkeeganuhl.com
Oedipus ...starring vegetables (2004) short film in HD by jason wishnow
The story of Oedipus, in 8 minutes, performed by vegetables, in the tradition of Ben Hur. A sword and salad epic, in classic CinemaScope. Featuring a Potato, a Tomato, Broccoli, Garlic, and Billy Dee Williams as the Bartender.
It took two years, a volunteer crew of more than 100 people, and post production resources donated by Industrial Light + Magic and Skywalker Sound. One of the first stop-motion films shot on a digital still camera. Official Selection: 70+ film festivals on nearly every continent, including Sundance, Seattle, São Paulo, Rome, and Hong Kong. Acquired by the Sundance Channel.
...you can also watch the behind-the-scenes documentary: vimeo.com/19151071
No More Questions! by StoryCorps
Kay Wang was a strong-willed grandmother who was reluctantly taken to a StoryCorps booth by her son and granddaughter. Though Kay resisted, she still had stories to tell—from disobeying her mother and rebuffing suitors while growing up in China to late-life adventures as a detective for Bloomingdale’s department store. Kay passed away just weeks after that interview, and her son and granddaughter returned to StoryCorps to remember her gentler side, which she kept to herself.
Directed by: The Rauch Brothers
Backgrounds: Bill Wray
Producers: Mike Rauch & Lizzie Jacobs
Art Direction: The Rauch Brothers & Bill Wray
Animation: Tim Rauch
Audio Produced by: Katie Simon & Michael Garofalo
Music:
Fredrik
Battles | Wall Street | A Take Away Show by La Blogotheque
"For days we were searching for hangars, warehouses and big empty loft spaces. We got the opposite : it was incongruous, it was bloody exciting. We were going to shoot Battles in a rococo style lounge in The Hotel de Ville, the magnificent city hall and mayor’s office in the centre of Paris."
May 30, 2011
Follow the cops back home
serangan kotak hitam "sadar dan ter-tidak sadar-an", yang selalu membuat kita terjerembab dalam mimpi yang dikonstruk oleh kaum pemilik "uang dan kuasa".
pulanglah kerumah !!
May 29, 2011
Drawing Inspiration by Wesley Louis
'A wino, resigned and stuck in his ways, finds mysterious sketches on the park bench that he visits every day. As these pictures stir his thoughts, he begins to notice the world around him and to reflect upon his own place within it. He meets a young boy whose innocent encouragement helps to release him from his self destructive social withdrawal and unlocks a part of his character that had been long forgotten.'
drawinginspirationproduction.blogspot.com
Shocking new ADI cruelty exposé shames UK circus industry by Animal Defenders
Animal Defenders International has released shocking footage from behind the scenes at the winter quarters of Bobby Roberts Super Circus, which graphically shows violence and confinement of circus animals.
ADI secured footage over a three and a half week period from a camera observing activity in a barn where the animals are kept when not touring, which shows a staggeringly high level of violence and serious animal husbandry flaws. Incidents included Annie (Anne), an elderly, severely arthritic 57 year old elephant being hit with a metal pitchfork and kicked around the face and body 48 times over the period of observation by workers, who are also seen beating and spitting on a camel and beating miniature ponies and horses on numerous occasions.
The disturbing footage also shows Annie constantly chained for the entire period of filming by her front and arthritic back leg with only enough room to take one step forward or backwards. Her chains were only changed to different legs twice, ADI believes this will clearly cause her pain and discomfort. It was noted that the feeding regime was poor.
What makes this case all the more disturbing is that the circus proprietor Bobby Roberts, who has claimed publicly to take good care of Annie as ‘she is a family pet’ and ‘part of the family’, is clearly captured on camera kicking Annie on the trunk, an extremely sensitive part of an elephant’s anatomy, and this is done in front of a worker.
As government prepares to make an announcement within the next few weeks regarding the fate of animal circuses in the UK and makes the decision to implement a total ban or self regulation, Animal Defenders International believes that this new evidence provides them with only one option – a total ban on the use of wild animals in circuses.
Jan Creamer, ADI’s Chief Executive said: “Annie’s tragic story symbolizes the plight of circus animals and is a shocking indictment of the circus industry at a key time as government considers a ban on the use of wild animals in circuses. We have presented successive governments with extensive evidence from our undercover investigations over the years into UK circuses that proves conclusively that routine violence and deprivation is endemic within the industry.
“To Lord Henley, the Minister responsible, we say enough is enough. It is now time for him to act decisively to stop this appalling suffering. It is time for him to enact a total ban once and for all.”
Government’s own public consultation in March 2010 found that an overwhelming 94.5% of the public want to see a ban on wild animals in circuses and over 170 MPs have now signed Early Day Motion 403 calling on the Government to ban wild animal acts. A recent parliamentary poll conducted by ADI found that 63% of MPs would like to see a ban on the use of wild animals in circuses and only 14% disagreed.
ADI has now exposed the shocking abuse of animals in UK circuses from several random undercover investigations over the last fifteen years. Only recently, in 2009, the beating of elephants at the Great British Circus was exposed and now in 2011 Bobby Roberts Super Circus shows that this is a way of life at the circus. A clear pattern has been proven and this time the government needs to act.
Tim Phillips, ADI’s Campaigns Director said: “The release of this footage stops any attempt by UK government to ignore the will of the public. It is clear that self-regulation is not an option in this industry.
“Once again, we have exposed that cruelty and deprivation is rife within the circus industry. We have also established that self regulation is not a viable option as the government would be asking circuses like Bobby Roberts or the Great British Circus to regulate themselves. That would be a farce, and the animals will continue to suffer abuse."
And to the circus industry, ADI says enough is enough.
Jan said: “I have no doubt that it will be claimed that this is an ‘exception’ and/or that the owner was not aware of the abuse, but the evidence is now conclusive. Each time we expose the cruelty, the circuses give a similar range of excuses.
“ADI has been concerned for Annie’s welfare for many years and have followed her tragic plight. Poor Annie has been with the circus for over 50 years since she was baby, having been caught in the wild and torn from her family. Elephants are social and extremely intelligent so this has been a living hell for her. At last we have managed to expose this circus operation for the cruel farce that it is and never again can Roberts preach about animal welfare and how well his animals are cared for.”
Tim concluded: “Our latest investigation shows how animals like elephants suffer in the travelling circus. In the name of entertainment they are beaten, jabbed with hooks and hit with pitchforks, chained up for hours every day, and pushed into metal boxes each week where they remain for hours on end whilst the circus moves to another site. And when they are meant to be resting in their winter quarters the abuse and cruelty continues.
“The public wants to see a ban, Parliament wants a ban, animal protection groups want a ban. A ban is the only way to put an end, once and for all, to this deplorable violence and deprivation, and government must act now.”
The Bobby Roberts Super Circus began its UK tour on the 24 March. Potential visitors are being asked to vote with their feet and stay away.
ADI is consulting with its lawyers to see what the potential is for legal action.
May 28, 2011
Experience Mobile Mobile by James Théophane Jnr
Lost Boys (an Interactive Agency) invited me to do something for their agency Christmas card.
We took this as an opportunity to reinterpret the Christmas tree and its role as the traditional focal point for a communal space. 'Mobile Mobile' is a six metre circumference interactive sculpture, and signature piece for the entrance of the Lost Boys London Brick Lane studio.
To cut a long story short, after a company-wide upgrade the agency had a lot of old mobiles gathering dust. We took these, built and hoisted a gigantic interactive chandelier/mobile that plays Christmas jingles in their reception.
To add a little xmas spice to the mix, anyone could go online, compose and play their own jingle (and enjoy annoying the hell out of people waiting around in the reception). This was achieved by playing the thing live, using your computer keyboard from a web browser.
Mobile Mobile being played by an anonymous online user: vimeo.com/8074999
Mobile Mobile reacting to a Tweet: vimeo.com/8115997
Mobile Mobile being played by hand: vimeo.com/8354782
May 27, 2011
V.city-Iraq : Theatre of War by Richard Mosse
Shot in Saddam Hussein's hilltop palace in the mountains overlooking the River Tigris, Theatre of War is a slow, virtually static video piece redolent of classical history painting. Audio was recorded at the official US military hand-over ceremony at the nearby city of Saniya. A mullah's prayer for unity among Arabs is spoken, after which the pan-Arab national anthem, Mawtini (My Homeland) is played, emphasizing Arab national solidarity and a pan-Arab territory. Made in Iraq in March 2009.
Cinematography and Editing by Trevor Tweeten
the Upstairs - Matraman
video yang sederhana dari sebuah band asal Jakarta dengan lirik cerdas tentang cerita picisan yang dibungkus apik dengan tema keseharian yang terjadi di sebuah situs pergerakan penduduk ibukota yang cepat.
"pemetaan kota dalam sebuah komposisi yang unik, mengagumkan !!"
May 25, 2011
The Story Beyond the Still - All Chapters - FINAL COLLABORATIVE FILM by Vincent Laforet
This is the final film being premiered at the Sundance Film Festival and on Vimeo simultaneously. It includes all 8 chapters in what Canon is calling the largest online collaborative film contest in history. The final chapter screenplay was written by all 6 chapter winners, directed by Vincent Laforet and photographed by DP Joe Desalvo.
See the other chapter winners separately and learn more about the contest here - vimeo.com/groups/beyondthestill
Enjoy!
Break Me by Scott Foley
A video haiku:
She fell like petals
The train would not stop till broke
Break me, break me, please.
5 syllables (5 second shot)
7 syllables (7 second shot)
5 syllables (5 second shot)
Vimeo Weekend Project: vimeo.com/blog:412
Scott Foley: flavors.me/scottbfoley
Stay Home by caleb wood
A house at the center is home to dog and cat. The sun shines down, and a day goes by.
degree project at risd2011
May 24, 2011
WEEKEND / 1967 / jean-luc godard [trafic scene]
"kalian akan mendapatkan pemandangan yang hampir mirip di Jakarta, ya setiap hari, seperti menonton filem-nya di pemutar cakram dirumah yang diulang"
Jean-Luc Godard's kepada Jakarta,.
The PEN Story by PENStory vs オオカミとブタ -Stop Motion with Wolf and Pig-
vs
little box and little box ... and everything its just the same ...
V.city-Rome: Notte Sento (English subtitles) by Daniele Napolitano
A girl misses her train to Milan and is set to wait overnight in Rome until dawn. However, a chance encounter with a guy changes her plans and the night lights of the capital turn into the background to a tender love story. An extraordinary chemistry made of knowing glances and small gestures fills the few instants that separate them both from the sunrise.
Short film made with 4500+ still photographs. Shot with a Canon EOS 30D camera.
Funded by the Seagate Creative Fund in 2008.
Italian language with English subtitles.
here are something that make me remember about "before sunrise" (ethan hawk).. i hope its bring new perspective ...
May 23, 2011
HONEY OR TAR - CocoRosie
you have one of these faces you never forget. As for the smile!
[reverse power]
V.city-London : Fear/Love by Rob Chiu
Three lives, three identities, three points of view. Set against the harsh backdrop of inner city London, Fear/Love interweaves the lives of three adolescents as they struggle with who they are, who they want to be and who they are becoming.
Directed, Written and Edited by Rob Chiu.
tag for this week is > Video City
Tema minggu ini all post akan mengulas mengenai kejadian-kejadian di kota .. city video. so thanks for visiting dude.
This week's theme is all post about occurrences in the city .. city video..
so thanks for visiting.
best regard
adel pasha
V.city-Jakarta : Waria Bencong Banci di Jakarta Indonesia
http://www.aabentlage.blogspot.com/
EWONG
Film about transvestites in Jakarta, Indonesia:
a beautiful double portret about Nancy and Nuke
and the acceptance of transvestites in the largest Muslim country of the world!
" i think i have to put this documentary on my blog.. nice, about Jakarta and Indonesia.
viva le video .... record your society
Coalition Of The Willing by coalitionfilm
'Coalition of the Willing' is a collaborative animated film and web-based event about an online war against global warming in a 'post Copenhagen' world.
‘Coalition of the Willing’ has been Directed and produced by Knife Party, written by Tim Rayner and crafted by a network of 24 artists from around the world using varied and eclectic film making techniques. Collaborators include some of the world’s top moving image talent, such as Decoy, World Leaders and Parasol Island.
The film offers a response to the major problem of our time: how to galvanize and enlist the global publics in the fight against global warming. This optimistic and principled film explores how we could use new Internet technologies to leverage the powers of activists, experts, and ordinary citizens in collaborative ventures to combat climate change. Through analyses of swarm activity and social revolution, 'Coalition of the Willing' makes a compelling case for the new online activism and explains how to hand the fight against global warming to the people.
forum lenteng
Forum Lenteng 2003 – 2008
Akhirnya, sekarang Juli 2008. Sudah lima tahun Forum Lenteng berdiri. Forum yang didirikan oleh para mahasiswa jurnalistik/komunikasi dan pekerja seni ini telah menjadi ruang diskusi dan kerja kreatif kawan-kawan mahasiswa dan pekerja kreatif muda tentang persoalan sosial, politik dan kebudayaan. Untuk sebuah organisasi, usia lima tahun bukanlah usia yang muda tapi juga bukan juga usia yang dewasa. Forum Lenteng adalah forum yang sangat cair, baru dalam dua tahun terakhir bentuk organisasinya dan pengurusnya mulai berjalan dengan lebih terorganisir. Sebelumnya forum ini lebih seperti KELOMPENCAPIR (Kelompok Pendengar Pembicara dan Pirsawan) jaman Orde Baru, yang tidak mempunyai bentuk yang ajek.
Pada Juli 2003, dari diskusi sederhana di halaman rumah, Forum Lenteng menggagas untuk memproduksi proyek pertamanya yaitu Massroom Project—sebuah proyek video dokumenter tentang kota Jakarta yang berjalan selama delapan bulan. Kompilasi ini menjadi pijakan awal bersama kawan-kawan di forum dalam membuat program-program selanjutnya. Hal ini dipicu dari banyaknya respon yang positif terhadap video dokumenter ini, baik dari pemirsa di Indonesia maupun International (dari tahun 2004 hingga 2007, Massroom Project masuk dalam ajang kompetisi dan special screening di berbagai festival dunia diantaranya; Obehausen, Bilbao, Sao Paolo, Mumbai, Durban, London, New York, Rotterdam dan berbagai pameran contemporary art dunia).
Berangkat dari pengalaman Massroom Project, Forum Lenteng mencoba mencari bentuk yang pas dalam memulai program-programnya. Sambil berjalan, kami menemukan bahwa yang paling penting dalam forum ini adalah bagaimana membedah/menganalisa fenomena sosial budaya dengan menggunakan media audio visual dan fotografi sebagai alatnya. Dari sini lahir beberapa program diantaranya Videopoem Project, Video Otobiografi, Jeda Photograhy Project, Melody Fair-Proyek Dokumenter Musik, Label Project—Proyek Fotografi Fasyen, Cerpen untuk Filem dan Filem untuk Filem. Setiap proyek yang dijalankan oleh forum selalu membutuhkan waktu yang panjang, sekitar empat bulan paling minimal. Hal ini dikarenakan waktu yang dibutuhkan untuk riset, diskusi dan produksi yang memang mengharuskan kami untuk menghabiskan waktu berminggu-minggu. Ada beberapa program yang pada akhirnya tidak sampai produksi seperti proyek Video Otobiografi yang berhenti pada hasil diskusi para partisipanya saja. Ada juga proyek yang masih berjalan produksi hingga sekarang meskipun sudah hampir dua tahun berjalan. Begitulah cara kerja Forum Lenteng yang menghidupi forum ini dari sumbangan para anggotanya dan para donator.
Selain menjalankan proyek internal di lingkungan Forum Lenteng, forum ini juga melakukan berbagai workshop dan pelatihan pembuatan film pendek dan video dokumenter ke beberapa daerah di komunitas-komunitas seni dan kelompok kreatif muda sebagai sebuah usaha persebaran ide membedah/menganalisa fenomena sosial dan budaya dengan menggunakan medium audio visual. Dalam program workshop ini, Forum Lenteng bekerjasama dengan komunitas-komunitas diberbagai daerah dan organisasi nirlaba lainnya, baik dalam pengorganisasian maupun menjadi paritsipan dalam workshop/pelatihan yang dilakukan Forum Lenteng.
Pada 2008 ini, Forum Lenteng memulai melakukan pengorganisasian yang lebih terukur. Saat ini Forum Lenteng mempunyai beberapa devisi program antara lain; workshop/lokakarya, penelitian pengembangan dan dokumentasi, penerbitan (Jurnal Footage: www.jurnalfootage.net), dan produksi. Pembagian devisi ini dibentuk untuk kerja yang lebih efektif dalam menjalankan forum yang sampai saat ini mempunyai anggota dua puluh enam orang anggota aktif.
Demikianlah sedikit tentang lima tahun Forum Lenteng. Kompilasi Cerpen untuk Filem merupakan proyek pertama forum yang berdasarkan fiksi. Sebelumnya Forum Lenteng dalam membuat proyeknya selalu melalui pendekatan dokumenter, baik untuk filem/video maupun fotografi. Dari proyek ini Forum Lenteng belajar banyak tentang pembacaan karya sastra dengan berbagai perspektif ilmu-ilmu sosial dan budaya. Pembongkaran kode-kode dalam karya sastra, khususnya cerpen, memberikan kami peluang untuk menginterpretasikanya secara persoanal dan menjadikan inspirasi dalam memproduksi karya filem. Melalui proses dan diskusi yang panjang, kode-kode baru muncul dari para sutradara/penulis filem-filem dalam kompilasi Cerpen untuk Filem. Karena tidak bisa dipungkiri bahwa kode sastra dalam filem mempunyai cara yang berbeda dalam menterjemahkannya. Ada ikatan-ikatan yang begitu kompleks dalam filem yang membuatnya jadi spesifik. Inilah mainan baru yang digemari oleh kawan-kawan di Forum Lenteng saat ini.
Semoga kompilasi Cerpen untuk Filem ini memberikan peluang kepada kita untuk melihat filem dengan cara yang berbeda. Kami percaya bahwa eksperimentasi dalam proyek ini akan memunculkan kritik dari pemirsa. Forum Lenteng sangat terbuka untuk menerima kritik. Selama ini filem kita sangat minim “kritik pedas”. Padahal kritik adalah sesuatu penting dalam perkembangan wacana filem dan kebudayaan kita. Untuk itu marilah kita kita saling mengkritik dan membuat sesuatu. Karena itulah yang menjadikan wacana kebudayaan kita terasa hidup dan bergairah.
Salam
Hafiz
Ketua Forum Lenteng
Tarkovsky In London: An Interview With Alexander Gordon
Russian TV UK (RUTVUK) present: Tarkovsky Festival. Russian British Film Festival in London 2007. An Interview after the film screening with Alexander Gordon, friend of Tarkovsky.
Two Men by Dominic Allen
Award winning Australian short film, Two Men, directed by Dominic Allen and shot in the Kimberly town of Fitzroy Crossing by Joel Betts, features a robust and dynamic cast of indigenous Australian non actors. Featuring an original soundtrack by Melbourne artist Felix Riebl, Based on Kafka's short story, Two Men Running, Allen's short film has been screened in a swathe of international film festivals including New York, Prague, London, Melbourne and Sydney and in 2009 was a Dendy Australian Short Film of the Year finalist.
The film was instrumental in supporting director Dominic Allen's Emerging Australian Filmmaker Award at the Melbourne International Film Festival and the 2009 Inside Film Rising Talent Award.
2009 MIFF Jury member Deb Verhoeven remarked "Two Men proves that the simplest scenario can provide the perfect premise for conveying the most profound insights. But (Allen's) key achievement is to understand that even the largest ideas are best told with brevity and the most serious with humour."
Two Men was made with the support of Yiriman, a community initiated and community driven project supported by the Kimberley Aboriginal Law and Culture Centre which aims to build stories, strength and resilience in the Kimberley's youth.
The Projector - 8mm Direct to 5Dmk2 by James Miller
This is my method for transferring 8mm footage using the Canon 5Dmk2 in real time. The results are very good for such a fast method if you cannot afford the money or time for frame scanning.
00:42 - It very important to use a flat type LED's not the dome shaped ones. The dome shape LED's will give you lots of blooming and the focus will drift at the edges making you suspect the lens.
00:58 - I drilled 3 holes in the body of the projector for the LED flexible light strip, behind where the original bulb used to sit. I mask out light I don't want projected with putty. The position of the lights helps mask out some of the scratches. I need to add another couple of (horizontal) lights either side of the centre light.
01:29 - I modified the original projector lens to try and achieve a flat field image. Made from the rear element from a Carl Zeiss Flektogon 35mm and attached to the original lens tube with a bit a tape no less. You could use standard lens and there are some very nice ones out there.
03:08 - Utilising the body from the old 35mm lens, it proved a good way in shielding the projector from light pollution, I also added a 12mm extension tube. A lens cloth draped over the front further seals the light from entering, of course you could just film in very low light.
00:12 - I put 2 drive belts on the motor, this slowed the motor down just enough to reduce the shutter flicker. The Canon 5Dmk2 was set to 24p and 1/50 for our electrical phase.
ISO ranged from base up to 1000, depending on exposure of original film. The footage is fine at ISO 1000 but this could be reduced by using a more powerful flat lens LED.
03:30 - Focus and frame size changed by moving the projector or camera and adjusting the screw type lens. Try and focus on the film grain and not the scratches.
00:37 - I removed the internal mask for 8mm & S8mm aspects at the gate to project an unrestricted image into the camera. You gain areas that are hidden but they have the perfs though them and you see the top and bottom of the next and previous frame, but you can re-mask in post. If it's personal footage you want to see everything on the frame, some times it makes the difference.
You can use the crop sensor DSLR's but the lens would need changing or modifying unless you wanted a cropped image. On this lens and projector I can not bring the camera near enough without fouling on the body of the camera or projector body to get a full image captured.
I have tried to make this project as accessible as possible and apart from the camera, all the items are fairly cheap to pick up.
Projector used: Eumig Mark 501, I also use the Eumig 610D & the Eumig Mark DL
Camera: Canon 5Dmk2
Ref LED: maplin.co.uk/dc-12-v-flexible-led-light-strip-400mm-47376
Here are links to a couple of films transferred using this exact setup:
vimeo.com/20900718
vimeo.com/20871186
A SHORT LOVE STORY IN STOP MOTION by Carlos Lascano
A couple of pencil-outlined birds escape from a little girl´s drawing, leading us through the life she dreams of.
you can find more about the making of at this link: carloslascano.com/carloslascano/vid_ashortlovestory.html
-----------------------------
May 21, 2011
FAÇADE 5A (Hafiz | 2004 | 10' 21")
"Lihat sekeling dimana kamu tinggal. Suatu hari, sesuatu yang dekat dengamu menjadi sangat berbeda."
Look around where you live today. In one day, sometimes very different things happen.
Video ini merupakan bagian dari Videopoem Project (2004 - 2005). Proyek video yang mencoba membaca fenomena sosial di Jakarta dengan menggunakan analisa video puisi. Proyek video ini menghasilkan dua karya video yaitu; FAÇADE 5A dan Jalan Tak ada Ujung yang dibuat oleh Maulana M. Pasha.
This video is part of Videopoem Project (2004-2005). Is a video project that attempt to interpret the social phenomenon in Jakarta by using videopoem analysis. This project resulting two videoworks: FAÇADE 5A and The Endless Step. This two works has been screened at various film festivals and visual arts exhibitions in Indonesia. In 2007, The Endless Step (the work of Maulana M. Pasha) achieving the Grand Prize in ASEAN New Media Art Competition.
Lain - Train Song
tempat yang tepat untuk ber-kereta, seperti menjelajah ke dunia 'gigantic' penuh polemik
May 20, 2011
Sincerely, Spain by Matthew Brown
This was my first time out of the United States. This video was the feeling I got while in Spain. The layers and layers of history everywhere the eyes turned gave the sense of mystery and exciting eeriness. I went to Barcelona, Seville, Cadiz, and Madrid.
May 19, 2011
Buffalo Milk Yogurt by Jennifer Levonian
In my cut-paper animation Buffalo Milk Yogurt (2010), a man has a nervous breakdown in a gourmet market while a woman practices naked yoga beside a display of pumpkins.
the end and the beginning ...
sorry dude ..this post just for remembering all the strong man that has chosen their own path ...... i love all this song.
for all you dude out there ..... for all victory ... GOD BLESS YOU FOR ALL THE SONG you Sing
viva video socialism
.... record your self then society (hafiz)
for all you dude out there ..... for all victory ... GOD BLESS YOU FOR ALL THE SONG you Sing
viva video socialism
.... record your self then society (hafiz)
Sumo Lake by Panic Productions
A rapid re-telling of the story of "Swan Lake", rapidly animated by Greg Holfeld using only the traditional tools of paper, pencils and coffee.
Zimoun : Compilation Video V2.7 | Sound Sculptures & Installations
Zimoun : Sound Sculptures & Installations
Compilation Video V2.7 / Last update: May 2011
zimoun.ch
«The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It‘s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.» Tim Beck
«It is a poetic and humorous absurdity we find in Zimoun’s work, which opens up a wide, refreshing and enriching space for discoveries, associations and a multitude of approaches.» Nina Terry
«Zimoun is best compared to a watchmaker of a self-reproducing time constructing his own gauging station.» Radjo Monk
«The clean, elegant sound sculptures combine visual, sonic, and spatial elements in an organically balanced entirely artwork. Using simple and well- conceived mechanical systems, Zimouns‘s work transforms and activates the space.» Jury Prix Ars Electronica 2010
«Zimoun creates complex kinetic sound sculptures by arranging industrially produced parts according to seemingly simple rules. Using motors, wires, ventilators, etc.., he creates closed systems that develop their own behavior and rules similarly to artificial creatures. Once running, they are left to themselves and go through an indeterminable process of (de)generation.
These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categorioes suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve.» Node10
«I perceive Zimoun’s work as a unique, playful, light-hearted, and utterly complex approach and examination of the present.» Tom Gray
«The components used in Zimoun’s work are simple, functional and raw, whereas only aesthetically high-level and purposefully chosen elements and materials are used in minimalist fashion. Through radical reduction, Zimoun creates works of art which allow for a plethora of associations without being pinned down to a specific direction. Radical abstraction functions rather like a code in the background of things, thus elegantly avoiding an insinuation of direct, concrete attribution. Thanks to the abundance of mechanical activity, the range of perception, possibilities and interpretations is wide open.» Amanda Neumann
«Indeed, one of the refreshing elements of this work is the immediacy with which one can understand the sound-making process, where each micro-event is present, visible, and concrete. Yet at the same time the resulting complexity of the total system, conjured before your eyes, defies any attempt to dissect it. You might find yourself feeling there is a «prime mover» at work behind the scenes, but in fact it is just the characteristic reaction of materials behaving together and in unison with the space of their activity. A magic of the real.» Xymara
«Minimal yet complex, monotonous yet varying constantly, these sound sculptures develop an uncanny strength.» Markus Spörndli
«Observing Zimoun’s work opens connections to nature and natural phenomena, physics, quantum mechanics, complexity, simplicity, vitality, individuality, evolvement and growth, but also to industrialization, robotics, mass production and social phenomena, to space, architecture, cosmic white noise, phantasms and highly enjoyable experiences popping up at any moment. Art is supposed to activate and focus our attention. Zimoun’s work seems to be a sweeping and beautiful example for this.» Anton Richter
«Zimoun’s primary instruments are entirely of his own making, each a large-scale installation of small mechanical devices — tables lined with whipping little bits of tubing, small sets of fetishistically situated mini- motors. They are architecturally precise and their beauty is forged by that precision. The meticulous engineering of Zimoun’s work is a set- up — not an end unto itself, but a staged step toward its end result, an orderly step enacted so as to let chaos flourish. His chaos takes place in close settings, in carefully defined spaces, in systems as thoroughly considered as a laboratory experiment. And the sound emited by them is not an after effect, or an afterthought. It’s a core principal of his practice.» Marc Weidenbaum
May 17, 2011
May 16, 2011
A People's History of American Empire by Howard Zinn
Empire or Humanity?
What the Classroom Didn't Teach Me about the American Empire
by Howard Zinn
Narrated by Viggo Mortensen
Art by Mike Konopacki
Video editing by Eric Wold
Re: Structure, Power, & Agency
Pinky's been thinking a lot about class treason lately: What does it mean that we do so many things in our lives 'automatically'? What can we really do to make this world better? And what will we have to give up or risk in order to achieve it?
May 14, 2011
13 Eme Rue - Biathlon by Spy Films
hahhahha.... dude..
i like if the Olympic games are moron like this ..
33 by adelpasha
video by: adel maulana pasha
from : yang "taksa" project
Jakarta is a society with intense mobility. The mobility of the citizens inside this community goes along with the mobility of the enclosed consumer goods. But what if the principle of this mobilization is the other way around, it derives from the mobilization of items that caused the mobilization of the people in today’s society.
The supposition of the relationship between these items then assumes the relation between people in the society that goes along with it, so the entity of human being is no longer assuming the humanism, but more to the interrelation of the items paralel to it. A kind of “imaginary objectification” of the interrelation of people who takes interrelation of items. This is why then the society gets to a commodity phase which doesn’t stick to items anymore, but it has reached the entity of human beings in a society.
Human beings as commodities can be seen clearly in the mobilization behaviour of Jakarta’s citizen as today’s industrial city. Productivity as a guideline in industrial society leaves a displacement of the meaning of relationships between human beings in a society, which no longer based on inter-human relationship. Human beings are being measured based on nominal. Starting from a busy day on working hours reflected on the traffic and traffic jams on the city’s main road all day long. And so, as a city, Jakarta is the citizen’s mobilization full of shopping activities as a lifestyle, and as an identity.
Circulative mobilization of productivity until consumption as the last circulation of the industrial citizen’s chain-link, really mobilizes the society wich is paralel to the items. Human being’s awareness in the industrial era then creates “reification” or society’s alienation due to reductions of industrial economics law. This state of alienation is strengthen by the culture of mass media as the consciousness’ reference, which its circulation ends at consumption.
May 13, 2011
The Demographic - This Broken Place by standard
The second official video release from The Demographic, for the longest, quietest song on their EP Verse Chorus Curse, "This Broken Place."
This video is a compilation of some great found footage & family home movies - reels of 8mm and Super 8mm film found in basements, bought at flea markets, and discovered in junk shops. The clips included roughly span the years 1940-1969 and were mostly shot in Massachusetts, Connecticut, and New York (and one roadtrip down South in the '40s). Highlights include the 1940 Macy's Day Parade, a stage performance by a young and energetic Martha "Polident" Raye, and (possibly?) a brief appearance by an American president.
The occasionally water-damaged, sometimes poorly spliced footage was captured and edited by Tom Pappalardo of Standard Design (also the singer of The Dem). Big thanks to Tom Malsbury for lending his 8mm projector to this endeavor. Projected on a piece of white paper and captured on a Canon Vixia HV30, color corrected & messed with in After Effects.
El Cosmonauta_Teaser by Alfonso Martínez
Remezcla para un Teaser de EL COSMONAUTA, un proyecto de film bajo licencia creative commons. A sido montado con el material oficial del film e incorporando nuevos sonidos y ajustes de color.
May 10, 2011
Last Minutes with ODEN by phos pictures
Thank You Jason Wood for allowing us this moment.
Oden's struggle with cancer finally came to an end.
May he rest in peace and his memory be eternal.
Directed/Edited: Eliot Rausch
Director of Photography: Luke Korver, Matt B. Taylor
Song: Big Red Machine / Justin Vernon + Aaron Dessner
A story from the 8 LIVES Documentary.
For more of Jason Wood's story from 3 years ago
see vimeo.com/14047489
outer Space by Peter tscherkassky
a cinema using a magnificent way to reproduce a new line cinema by cinema materials, he scratch the materials to make some effect, to reproduce new prospective to see new image. i really like this work .. that's way i have to put to social video so sharing knowledge can be move to another world.
hope u all enjoy it
he make a good editing and new line of a video
its create by : Peter tscherkassky in poets picture production.
post by: adel maulana pasha
WHAT NEW MEDIA is NOT
Having proposed a list of the key diffirences between new and old media, I now would like to address other potential candidates, which I have ommitted.The following are some of the popularly held notions about the difference between new and old media which this section will subject to scrutiny:
1. New media is analog media converted to a digital representation. In contrast to analog media which is continuos, digitally encoded media is discrete.
2. All digital media (text, still images, visual or audio time data, shapes, 3D spaces) share the same the same digital code. This allows diffirent media types to be displayed using one machine, i.e., a computer, which acts as a multimedia display device.
3. New media allows for random access. In contrast to film or videotape which store data sequentially, computer storage devices make possible to access any data element equally fast.
4. Digitization involves inevitable loss of information. In contrast to an analog representation, a digitally encoded representation contains a fixed amount of information.
5. In contrast to analog media where each successive copy loses quality, digitally encoded media can be copied endlessly without degradation.
6. New media is interactive. In contrast to traditional media where the order of presentation was fixed, the user can now interact with a media object. In the process of interaction the user can choose which elements to display or which paths to follow, thus generating a unique work. Thus the user becomes the co-author of the work.
Cinema as New Media
If we place new media new media within a longer historical perspective, we will see that many of these principles are not unique to new media and can be already found in older media technologies. I will illustrate this by using the example of the technology of cinema.
(1). “New media is analog media converted to a digital representation. In contrast to analog media which is continuos, digitally encoded media is discrete.”
Indeed, any digital representation consists from a limited number of samples. For example, a digital still image is a matrix of pixels — a 2D sampling of space. However, as I already noted, cinema was already based on sampling — the sampling of time. Cinema sampled time twenty four times a second.
So we can say that cinema already prepared us for new media. All that remained was to take this already discrete representation and to quantify it. But this is simply a mechanical step; what cinema accomplished was a much more difficult conceptual break from the continuous to the discrete.
Cinema is not the only media technology which, emerging towards the end of the nineteenth century, employed a discrete representation. If cinema sampled time, fax transmission of images, starting in 1907, sampled a 2D space; even earlier, first television experiments (Carey, 1875; Nipkow, 1884) already involved
sampling of both time and space.36 However, reaching mass popularity much earlier than these other technologies, cinema is the first to make the principle of a discrete representation of the visual a public knowledge.
(2). “All digital media (text, still images, visual or audio time data, shapes, 3D spaces) share the same the same digital code. This allows diffirent media types to be displayed using one machine, i.e., a computer, which acts as a multimedia display device.”
Before computer multimedia became commonplace around 1990, filmmakers were already combining moving images, sound and text (be it intertitles of the silent era or the title sequences of the later period) for a whole century. Cinema thus was the original modern "multimedia." We can also much earlier examples of multiple-media displays, such as Medieval illuminated manuscripts which combined text, graphics and representational images.
(3). “New media allows for random access. In contrast to film or videotape which store data sequentially, computer storage devices make possible to access any data element equally fast.”
For example, once a film is digitized and loaded in the computer memory, any frame can be accessed with equal ease. Therefore, if cinema sampled time but still preserved its linear ordering (subsequent moments of time become subsequent frames), new media abandons this "human-centered" representation altogether — in order to put represented time fully under human control. Time is mapped onto two-dimensional space, where it can be managed, analyzed and manipulated more easily.
Such mapping was already widely used in the nineteenth century cinema machines. The Phenakisticope, the Zootrope, the Zoopraxiscope, the Tachyscope, and Marey's photographic gun were all based on the same principle -- placing a number of slightly different images around the perimeter of a circle. Even more striking is the case of Thomas Edison's first cinema apparatus. In 1887 Edison and his assistant, William Dickson, began experiments to adopt the already proven technology of a phonograph record for recording and displaying of motion pictures. Using a special picture-recording camera, tiny pinpoint-size photographs were placed in spirals on a cylindrical cell similar in size to the phonography cylinder.
A cylinder was to hold 42,000 images, each so small (1/32 inch wide)
that a viewer would have to look at them through a microscope.37 The storage capacity of this medium was twenty-eight minutes -- twenty-eight minutes of
continuous time taken apart, flattened on a surface and mapped into a two- dimensional grid. (In short, time was prepared to be manipulated and re-ordered, something which was soon to be accomplished by film editors.)
May 9, 2011
TEKNOLOGI DAN STRUKTUR FILEM
TEKNOLOGI DAN STRUKTUR FILEM
Written by diselaraskan oleh Divisi Litbang Forum Lenteng
Era Filem Bisu
Dengan mengesampingkan awal eksperimen suara oleh Dickson pada 1894, film adalah murni seni visual sepanjang abad ke-19, tetapi film bisu inovatif ini memberikan pengaruh pada imajinasi masyarakat. Sekitar abad ke-20, dimulailah pengembangan struktur naratif dengan menjalin adegan-adegan menjadi sebuah cerita. Adegan-adegan itu kelamaan terpecah menjadi beberapa shot dengan sudut dan ukuran yang berbeda.
Para penemu dan produser berusaha keras semenjak kelahiran film untuk mengawinkan gambar dengan suara, tapi tak ada teknologi yang memungkinkan hingga akhir 1920an. Karena pada 3 dasawarsa awal yang ada hanyalah film bisu.
Teknik lainnya seperti gerak kamera disadari sebagai cara efektif untuk memotret sebuah cerita dalam film. Daripada membiarkan penonton dalam keadaan hening, pemilik gedung bioskop akan menyewa seorang pemain piano, organ atau orkestra lengkap untuk memainkan musik yang disesuaikan dengan suasana film. Pada awal 1920an, kebanyakan film muncul dengan daftar lengkap musik untuk kebutuhan ini, dengan partitur musik film yang digubah untuk produksi besar. Kadangkala ada juga semacam efek suara dengan dialog dan narasi yang ditampilkan dalam intertitle.
Era Filem Bersuara
Pada 1920an juga, teknologi baru memungkinkan pembuat film memasukkan tiap film sebuah soundtrack suara (dialog), musik dan efek suara yang di sinkronisasikan dengan aksi dalam layar. Film suara ini terkenal dengan sebutan “Filem Bersuara”, atau talkies.
Dziga Vertov
Perkembangan teknologi sinema dunia mendorong munculnya gerakan perubahan di dalam melihat teknologi ini dalam perspektif seni. Sinema mulai dirumuskan sebagai sebuah cabang seni yang mempunyai karakteristik sendiri selain ikatan yang besarnya dengan teknologi.
Dziga Vertov (15 Januari 1896 – 12 Pebruari 1954) salah satu penggagas gerakan pembaharuan sinema asal Soviet membuat manifesto Kino Eye:
“Aku, Sebuah mesin,memperlihatkan kalian dunia seperti yang aku lihat. Mulai sekarang dan selamanya aku menyingkirkan imobilitas manusia, Aku bergerak konstan, Aku mendekati dan menjauhi obyek, Aku merangkak di bawah mereka, Aku melompati mereka, Aku bergerak mencongklang sisi kuda, Aku memintas keramaian, Aku berbalik, Aku lepas landas dengan pesawat terbang, Aku jatuh dan membumbung tanpa jatuh dan menerbangkan tubuh.”
Kesadaran dan bawahsadar penonton.
Kita bangkit melawan persekongkolan “sutradara sihir” dan publik yang terjebak pesonanya.
Kesadaran kita sendiri sanggup melawan segala macam pengaruh sihir itu.
Kesadaran kita sendiri bisa membentuk manusia dengan keyakinan dan pandangan yang pasti.
Kita perlu pribadi yang sadar, bukan massa yang tak sadar, pribadi yang siap berteriak menentang segala sihir.
Hidup kesadaran sejati barang siapa yang bisa melihat dan mendengarnya.
Hancurlah tabir wangi ciuman, pembunuhan, dara dan muslihat menghiba-hiba.
Hidup kaum tersadar !
Hidup KINO EYE !
Dalam hal ini Vertov menempatkan film dan sinema sebagai sebuah kultur baru dalam perkembangan kesenian dunia. Pengaruh gerakan ini masih terasa hingga sekarang yaitu bagaimana sinema mempunyai kemungkinan-kemungkinan yang di luar kenyataan dan ia ditempatkan sebagai di luar realitas yang sebenarnya. Ini jugalah salah satu pemicu lahirnya eksperimentasi medium dalam karya seni di dunia.
Sinema Sebagai Bahasa Seni
Setelah Vertov mengeluarkan manifesto Kino Eye dengan karya fenomenalnya Man with the Movie Camera, gerakan sinema berubah menjadi dua arah yang berbeda. Satu adalah sinema sebagai “industri hiburan”, dan yang lainnya sinema sebaga “karya seni”.
Kebangkitan Sinema dan Perang Dunia
Kebangkitan sinema Eropa di disela dengan pecahnya Perang Dunia I sementara industri film Amerika sedang berkembang film Hollywood. Bagaimanapun pada 1920an, Pembuat film Eropa seperti Sergei Eisenstein, F. W. Murnau, dan Fritz Lang, bersama dengan inovator Amerika D. W. Griffith dan dengan sumbangan dari Charles Chaplin, Buster Keaton dan yang lain, melanjutkan pengembangan medium film.
Grifith bapak sinema dunia yang menemukan struktur bahasa dalam filem dan sampai sekarag bahasa filem gaya struktural Eisenstein dan semua gaya kolosal mengacu pada Griffith. Walaupun dia hanya membuat 2 filem yang berhasil. Russian directors such as Vertov, eisenstein, terpesona abees sama bapake satu kuwi. Griffith sendiri mati dalam kemiskinan. Kaga laku.
Lang dan Murnau daat tawaran dari studio2 Hollywood. Yang ngembangin studio2 besar tuh mereka. Cikal bakal HOLLYWOOD.
Neorealisme Italia
Neorealisme Italia adalah gaya film dengan karakter cerita yang dibangun dalam lingkungan kaum miskin dan kaum pekerja, difilmkan lansung dalam lokasi, seringkali memakai aktor amatir. Film-film neorealisme Italia kebanyakan berhadapan dengan situsi ekonomi yang sulit dan kondisi mental setelah Perang Dunia II Italia, Merefleksikan perubahan jiwa Italia dan keadaan hidup sehari-hari: Kemiskinan dan keputusasaan.
Gaya neorealisme dikembangkan oleh kritikus film yang tergabung dalam majalah Cinema, meliputi Michelangelo Antonioni, Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis, dan Pietro Ingrao. Di luar itu ada Federico Fellini, Roberto Rossellini yang mengawali gaya neorealisme Italia, dan Vittorio de Sica.
Gaya neorealisme memiliki pesan politik yang tak terpisahkan. Secara ideologis, karakteristik dari Neorealisme Italia adalah:
- Semangat demokratik baru, yang menekankan nilai orang-orang biasa
- Sudut pandang simpatik dan penolakan terhadap penilaian moral singkat
- Pendudukan kembali masa lalu Fasis Italia (masa lalu jaya Romawi) dan kerusakan akibat perang
- Percampuran akan Katolik dan Marxis Humanis (dalam tanda kutip anti politik)
- Mementingkan emosi dibanding ide-ide abstrak
Secara stilistik, neorealisme adalah:
- Penghindaran alur cerita yang teliti agar lebih bebas, struktur episode yang berkembang secara organik
- Gaya visual dokumenter
- Penggunaan lokasi sebenarnya —biasanya eksterior— dibanding ruang studio
- Penggunaan aktor-aktor amatir, bahkan untuk peran utama
- Penggunaan tuturan perbincangan bukan dialog sastra
- Penghindaran pemalsuan dalam penyuntingan, kerja kamera, dan pencahayaan untuk gaya minimalis
setelah neo realisme
Semenjak penolakan terhadap sistem studio pada 1960an, dekade kejayaan melihat perubahan dalam produksi dan gaya film. New Hollywood, —atau Hollywood Posklasik atau Gelombang Baru Amerika (pertengahan 1960an sampai akhir 1980an)— Nouvelle Vague —Gelombang Baru Prancis di akhir 1950-1960an— dan kebangkitan sekolah film mendidik pembuat film independen yang juga bagian dari perubahan pengalaman medium di akhir pertegahan abad ke-20. Teknologi Digital mulai merasuki dunia film pada 1990an dan saat ini.
Written by diselaraskan oleh Divisi Litbang Forum Lenteng
Era Filem Bisu
Dengan mengesampingkan awal eksperimen suara oleh Dickson pada 1894, film adalah murni seni visual sepanjang abad ke-19, tetapi film bisu inovatif ini memberikan pengaruh pada imajinasi masyarakat. Sekitar abad ke-20, dimulailah pengembangan struktur naratif dengan menjalin adegan-adegan menjadi sebuah cerita. Adegan-adegan itu kelamaan terpecah menjadi beberapa shot dengan sudut dan ukuran yang berbeda.
Para penemu dan produser berusaha keras semenjak kelahiran film untuk mengawinkan gambar dengan suara, tapi tak ada teknologi yang memungkinkan hingga akhir 1920an. Karena pada 3 dasawarsa awal yang ada hanyalah film bisu.
Teknik lainnya seperti gerak kamera disadari sebagai cara efektif untuk memotret sebuah cerita dalam film. Daripada membiarkan penonton dalam keadaan hening, pemilik gedung bioskop akan menyewa seorang pemain piano, organ atau orkestra lengkap untuk memainkan musik yang disesuaikan dengan suasana film. Pada awal 1920an, kebanyakan film muncul dengan daftar lengkap musik untuk kebutuhan ini, dengan partitur musik film yang digubah untuk produksi besar. Kadangkala ada juga semacam efek suara dengan dialog dan narasi yang ditampilkan dalam intertitle.
Era Filem Bersuara
Pada 1920an juga, teknologi baru memungkinkan pembuat film memasukkan tiap film sebuah soundtrack suara (dialog), musik dan efek suara yang di sinkronisasikan dengan aksi dalam layar. Film suara ini terkenal dengan sebutan “Filem Bersuara”, atau talkies.
Dziga Vertov
Perkembangan teknologi sinema dunia mendorong munculnya gerakan perubahan di dalam melihat teknologi ini dalam perspektif seni. Sinema mulai dirumuskan sebagai sebuah cabang seni yang mempunyai karakteristik sendiri selain ikatan yang besarnya dengan teknologi.
Dziga Vertov (15 Januari 1896 – 12 Pebruari 1954) salah satu penggagas gerakan pembaharuan sinema asal Soviet membuat manifesto Kino Eye:
“Aku, Sebuah mesin,memperlihatkan kalian dunia seperti yang aku lihat. Mulai sekarang dan selamanya aku menyingkirkan imobilitas manusia, Aku bergerak konstan, Aku mendekati dan menjauhi obyek, Aku merangkak di bawah mereka, Aku melompati mereka, Aku bergerak mencongklang sisi kuda, Aku memintas keramaian, Aku berbalik, Aku lepas landas dengan pesawat terbang, Aku jatuh dan membumbung tanpa jatuh dan menerbangkan tubuh.”
Kesadaran dan bawahsadar penonton.
Kita bangkit melawan persekongkolan “sutradara sihir” dan publik yang terjebak pesonanya.
Kesadaran kita sendiri sanggup melawan segala macam pengaruh sihir itu.
Kesadaran kita sendiri bisa membentuk manusia dengan keyakinan dan pandangan yang pasti.
Kita perlu pribadi yang sadar, bukan massa yang tak sadar, pribadi yang siap berteriak menentang segala sihir.
Hidup kesadaran sejati barang siapa yang bisa melihat dan mendengarnya.
Hancurlah tabir wangi ciuman, pembunuhan, dara dan muslihat menghiba-hiba.
Hidup kaum tersadar !
Hidup KINO EYE !
Dalam hal ini Vertov menempatkan film dan sinema sebagai sebuah kultur baru dalam perkembangan kesenian dunia. Pengaruh gerakan ini masih terasa hingga sekarang yaitu bagaimana sinema mempunyai kemungkinan-kemungkinan yang di luar kenyataan dan ia ditempatkan sebagai di luar realitas yang sebenarnya. Ini jugalah salah satu pemicu lahirnya eksperimentasi medium dalam karya seni di dunia.
Sinema Sebagai Bahasa Seni
Setelah Vertov mengeluarkan manifesto Kino Eye dengan karya fenomenalnya Man with the Movie Camera, gerakan sinema berubah menjadi dua arah yang berbeda. Satu adalah sinema sebagai “industri hiburan”, dan yang lainnya sinema sebaga “karya seni”.
Kebangkitan Sinema dan Perang Dunia
Kebangkitan sinema Eropa di disela dengan pecahnya Perang Dunia I sementara industri film Amerika sedang berkembang film Hollywood. Bagaimanapun pada 1920an, Pembuat film Eropa seperti Sergei Eisenstein, F. W. Murnau, dan Fritz Lang, bersama dengan inovator Amerika D. W. Griffith dan dengan sumbangan dari Charles Chaplin, Buster Keaton dan yang lain, melanjutkan pengembangan medium film.
Grifith bapak sinema dunia yang menemukan struktur bahasa dalam filem dan sampai sekarag bahasa filem gaya struktural Eisenstein dan semua gaya kolosal mengacu pada Griffith. Walaupun dia hanya membuat 2 filem yang berhasil. Russian directors such as Vertov, eisenstein, terpesona abees sama bapake satu kuwi. Griffith sendiri mati dalam kemiskinan. Kaga laku.
Lang dan Murnau daat tawaran dari studio2 Hollywood. Yang ngembangin studio2 besar tuh mereka. Cikal bakal HOLLYWOOD.
Neorealisme Italia
Neorealisme Italia adalah gaya film dengan karakter cerita yang dibangun dalam lingkungan kaum miskin dan kaum pekerja, difilmkan lansung dalam lokasi, seringkali memakai aktor amatir. Film-film neorealisme Italia kebanyakan berhadapan dengan situsi ekonomi yang sulit dan kondisi mental setelah Perang Dunia II Italia, Merefleksikan perubahan jiwa Italia dan keadaan hidup sehari-hari: Kemiskinan dan keputusasaan.
Gaya neorealisme dikembangkan oleh kritikus film yang tergabung dalam majalah Cinema, meliputi Michelangelo Antonioni, Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis, dan Pietro Ingrao. Di luar itu ada Federico Fellini, Roberto Rossellini yang mengawali gaya neorealisme Italia, dan Vittorio de Sica.
Gaya neorealisme memiliki pesan politik yang tak terpisahkan. Secara ideologis, karakteristik dari Neorealisme Italia adalah:
- Semangat demokratik baru, yang menekankan nilai orang-orang biasa
- Sudut pandang simpatik dan penolakan terhadap penilaian moral singkat
- Pendudukan kembali masa lalu Fasis Italia (masa lalu jaya Romawi) dan kerusakan akibat perang
- Percampuran akan Katolik dan Marxis Humanis (dalam tanda kutip anti politik)
- Mementingkan emosi dibanding ide-ide abstrak
Secara stilistik, neorealisme adalah:
- Penghindaran alur cerita yang teliti agar lebih bebas, struktur episode yang berkembang secara organik
- Gaya visual dokumenter
- Penggunaan lokasi sebenarnya —biasanya eksterior— dibanding ruang studio
- Penggunaan aktor-aktor amatir, bahkan untuk peran utama
- Penggunaan tuturan perbincangan bukan dialog sastra
- Penghindaran pemalsuan dalam penyuntingan, kerja kamera, dan pencahayaan untuk gaya minimalis
setelah neo realisme
Semenjak penolakan terhadap sistem studio pada 1960an, dekade kejayaan melihat perubahan dalam produksi dan gaya film. New Hollywood, —atau Hollywood Posklasik atau Gelombang Baru Amerika (pertengahan 1960an sampai akhir 1980an)— Nouvelle Vague —Gelombang Baru Prancis di akhir 1950-1960an— dan kebangkitan sekolah film mendidik pembuat film independen yang juga bagian dari perubahan pengalaman medium di akhir pertegahan abad ke-20. Teknologi Digital mulai merasuki dunia film pada 1990an dan saat ini.
BREAKDOWN the video **2010 VIMEO AWARDS REMIX WINNER** by kasumi
BREAKDOWN, a mashup of thousands of public domain samples, is the ageless tale of corrupt power-seekers perpetrating hideous deceptions on gullible masses. The New York Times called BREAKDOWN, in its Carnegie Hall premiere with the American Composers Orchestra “an uproarious bricolage of alien-invasion panic, financial distress, military might and patriotic sentiment.”
Synopsis:
When an unidentified object is spotted in space, observers immediately alert the government, now in the hands of the Illegal Party, puts the country on red alert: vast profits can be made from this unknown enemy. The propaganda machine generates fear in the public. Mesmerized by the righteous glories of war, people fall into step with the military drumbeat, and drift into total complacency to the lilt of a free market bandwagon. Many lose the power to question their government and cannot recognize the looming breakdown of their world. Others, moved by the government's disdain for its impoverished citizens, foment resistance. People march out to vote, but rigged voting booths open onto a worse fate. The smallest protest becomes a treasonous act and citizens are rounded up, imprisoned for interrogation, and ultimately tortured by a vindictive and triumphalist government.
For the full, uncut version:
vimeo.com/8423450
35mm by Pascal Monaco
»35mm« is a shortfilm about cinema itself. We picked 35 of our favorite movies and tried to simplifly them as far as possible. The outcome is a 2 minute journey through the history of film.
Take a close look and tell us if you've recognized them all!
--
Concept / Layout: Sarah Biermann, Torsten Strer, Felix Meyer, Pascal Monaco
Animation: Felix Meyer, Pascal Monaco
Sound: Torsten Strer
May 4, 2011
May 3, 2011
May 2, 2011
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