PICTURES from Gioacchino Petronicce on Vimeo.
Say CHEESE ! Made only with pictures and Love. If you don't have good speakers, use Headphones! "Pictures" Speaks about photography and photographer. Here, the photographer is moving in the space to discover a particular event. When he find it he just push the button and... click ! I tried on this experiment to describe my vision about "how can I make a photography ?" This is like a game with the time, acceleration, break and restart. "Pictures" has been created from 80 000 pictures shot this last 3 years in various city (Paris, Barcelona, Hossegor, Venezia, Toulouse, Martinique, New York City, Montpellier, etc.) Edited with Lightroom 4, Quick Time pro 7, Final Cut Pro 7 and Pro tools 9. Camera : 5D mark III and 7D (Jpeg and raw) Lenses : Tokina 11-16mm, Canon 35mm L, Zeiss 50mm 1.4, Canon 50mm 1.4, Canon 100mm 2.8, Samyang 85mm 1.4, Lens baby, Canon 15-85mm. Music : Claude Debussy - Clair de lune.
Showing posts with label videocinema. Show all posts
Showing posts with label videocinema. Show all posts
September 26, 2013
October 10, 2012
LOSERS : video by EVERYNONE
July 22, 2012
Everything Is A Remix: KILL BILL
An extrapolation on the "One Last Thing" from Kirby Ferguson's web series Everything Is A Remix - Episode 2: vimeo.com/19447662
Edited by Robert Grigsby Wilson
Produced by Kirby Ferguson and Robert Grigsby Wilson
Dedicated to Sally Menke, Quentin Tarantino's Editor, who passed away last year. She was a great inspiration to me.
For more information, visit
EverythingIsARemix.info
and
RobGWilson.com
FILMS:
0:19 - Game of Death (1978)
0:35 - Samurai Fiction (1998)
0:41 - Once Upon A Time In The West (1968)
0:51 - Death Rides A Horse (1967)
1:01 - Lady Snowblood (1973)
1:14 - Thriller: A Cruel Picture (1974)
1:20 - Deep Red (1975)
1:35 - City of the Living Dead (1980)
1:39 - Gone In 60 Seconds (1974)
1:42 - Goke, Body Snatcher From Hell (1968)
1:49 - Sanjuro (1962)
1:57 - Blade Runner (1982)
2:03 - Fists of Fury (1972)
2:14 - Sanjuro (1962)
2:27 - Ichi The Killer (2001)
2:30 - Navajo Joe (1966)
2:44 - Battle Royale (2000)
2:51 - The Mercenary (1968)
2:57 - Circle of Iron (1978)
3:00 - Citizen Kane (1941)
3:09 - Shogun Assassin (1980)
3:21 - City of the Living Dead (1980)
3:28 - Django Kill! (1967)
3:34 - The Good, The Bad, and the Ugly (1966)
3:43 - Twisted Nerve (1968)
3:52 - Black Sunday (1977)
4:04 - Carrie (1976)
4:13 - Alfred Hitchcock Presens: Breakdown (1955)
4:23 - Jackie Brown (1997)
4:25 - From Dusk Till Dawn (1996)
4:26 - Pulp Fiction (1994)
4:30 - Pulp Fiction (1994)
4:33 - Jackie Brown (1997)
4:37 - Resevoir Dogs (1992)
4:39 - Jackie Brown (1997)
4:41 - Pulp Fiction (1994)
4:47 - Jackie Brown (1997)
4:50 - Pulp Fiction (1994)
4:51 - Jackie Brown (1997)
4:53 - From Dusk Till Dawn (1996)
4:57 - Pulp Fiction (1994)
5:07 - Pulp Fiction (1994)
5:08 - Resevoir Dogs (1992)
5:09 - Jackie Brown (1997)
5:10 - From Dusk Till Dawn (1996)
MUSIC:
0:09 - Santa Esmeralda - Don't Let Me Be Misunderstood
0:49 - Quincy Jones - Ironside
0:55 - The Human Beinz - Nobody But Me
1:45 - Ennio Morricone - From Man To Man (Death Rides A Horse)
2:36 - Shivaree - Goodnight Moon
3:39 - Bernard Herrmann - Twisted Nerve
4:18 - Issac Hayes - Truck Turner
April 2, 2012
Everything is a Remix Part 4 by Kirby Ferguson
Our system of law doesn't acknowledge the derivative nature of creativity. Instead, ideas are regarded as property, as unique and original lots with distinct boundaries. But ideas aren't so tidy. They're layered, they’re interwoven, they're tangled. And when the system conflicts with the reality... the system starts to fail.
If you've enjoyed this series, please support my next project, This is Not a Conspiracy Theory, on KickStarter.
kickstarter.com/projects/kirby/this-is-not-a-conspiracy-theory
(untuk video kirby lainnya sudah di embed di tag: video cinema .. enjoy)
October 30, 2011
July 9, 2011
Half by Alex Bohs
Starring:
Chloe Howcroft
Emily Deering
Melody Snyder
Written, Directed & Edited by:
Alex Bohs
Cinematography by:
Mark Johnson
yup.. this post is to represent the other post about split screen ... so wonderful to see to image with same felling but sometimes become a opposite or become love .
its just fun to see imagenery that can bring us to another meaning.
thanks for all you that push record button.. viva le video socialita.
and many thanks to all the video that i have been embed to this blog.
hope u enjoys guys,
best regard
adel
Chloe Howcroft
Emily Deering
Melody Snyder
Written, Directed & Edited by:
Alex Bohs
Cinematography by:
Mark Johnson
yup.. this post is to represent the other post about split screen ... so wonderful to see to image with same felling but sometimes become a opposite or become love .
its just fun to see imagenery that can bring us to another meaning.
thanks for all you that push record button.. viva le video socialita.
and many thanks to all the video that i have been embed to this blog.
hope u enjoys guys,
best regard
adel
July 8, 2011
note .. new media. and a video : (Splitscreen: A Love Story by JW Griffiths )
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 phonograph 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.)
June 22, 2011
Everything is a Remix Part 3 by Kirby Ferguson
Creativity isn't magic. Part three of this four-part series explores how innovations truly happen.
To support this project please visit: everythingisaremix.info/donate/
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
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!
May 23, 2011
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.
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.
May 19, 2011
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.
May 13, 2011
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!
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Concept / Layout: Sarah Biermann, Torsten Strer, Felix Meyer, Pascal Monaco
Animation: Felix Meyer, Pascal Monaco
Sound: Torsten Strer
May 4, 2011
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