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Sérgio Miguel Silva
Seth Keen PhD. September 23rd, 2014 · 2 Comments · PhD Download exegesis pdf (14.2 MB): Netvideo Nonvideo Newvideo: Designing a multilinear nonnarrative form for interactive documentary Abstract: This research explores interactive documentary and focuses on identifying how the affordances of video, computers and the network can be used to create a web of relations between shots within an interactive documentary that utilises the multilinear structure of the Internet. The aim of this investigation is to help practitioners who do not understand these affordances to learn what they are, and what is important when making an interactive documentary online.
Key words: digital media, media practice, interactive media, documentary, interactive documentary, narrative, video, online video, design, interaction design, Internet studies Video documentation of the project artefacts available on request. Tags: interactive-documentary·practice-based research·research·video·web video.
Brecht and Self-Reflexive Cinema by Dana Polan. Brecht and the politics of self-reflexive cinema by Dana B. Polan from Jump Cut, no. 1, 1974, pp. Copyright Jump Cut: A Review of Contemporary Media, 1974, 2004 In a 1940s Bugs Bunny cartoon, Elmer Fudd, once again forced by destiny and by narrative to chase Bugs, fires several times at his fleeing nemesis. The bullets fail to have their desired effect. Of course, the lack of deadliness is a typical quality of Warners cartoon bullets, but this time Bugs stops and comments to the audience: "Folks, those bullets are fake; we're saving the real ones for the boys overseas.
" For me, this moment aptly demonstrates the attitudes an artwork can adopt towards the material world and the dynamics of history. [1] First, a distance from worldly reality, a distance inherent in art and which makes it art. To me, the two most important signs, if we may call them that, in my title are the question mark and the word "towards. " Narrative, and its ostensible canonization in Hollywood, also becomes a target. Wim Wenders: From the American West to West Berlin: Places: Design Observer. Essay: Nicole Huber & Ralph Stern Wim Wenders, Border Crossings, and the Transnational Imaginary Image from Wim Wenders's Paris, Texas, 1984. Written in the West is the title of a catalogue of photographs exhibited by the German film director Wim Wenders at the Centre Pompidou in 1986. The catalogue contains striking images of cities and landscapes in California, Arizona, New Mexico and Texas; it closes with a photograph of "The Devil’s Graveyard," taken in Big Bend, Texas, the location of the opening sequences in Wenders's remarkable film Paris, Texas (1984).
In an interview in the catalogue with the French critic Alain Bergala, Wenders speaks eloquently about the meaningful relationship between photography, exploration and travel: Photography makes it possible to comprehend a place right away. ... The history of photography and the "discovery" of the American West — through the lenses of explorers, photographers and cinematographers — are closely connected. That was a seductive life. Iterance - facebook page. Spirit of Baraka | Celebrating Baraka, Samsara, Koyaanisqatsi and other non-verbal films. Looking at the Landscape of Childhood in Ivan's Childhood and Germany Year Zero | Film International. By Devapriya Sanyal. The two great wars of the twentieth century would change everything for humankind once and for all; both materially and spiritually. These wars formed the basis for diverse artistic depictions and found their way into various works both during the war, after the war and in peacetime when the artists could “recollect emotions in tranquility” – to borrow a phrase from Wordsworth.
Of course, this recollection was not one of happy memories, but one of ravaged memories, of death, trauma and the loss of childhood innocence. I shall consider two films haunted by the memory of war: Roberto Rossellini’s Germany Year Zero (1948) and Andrei Tarkovsky’s Ivan’s Childhood (1962). Germany Year Zero The opening pan across the ruins in Germany Year Zero is combined with a voice-over that explains the objectives of the film – to depict the plight of the 3.5 million living in post-war Berlin. Edmund lives with his old father and two older siblings – a sister and a brother. Chris Marker. O cineasta Chris Marker morreu no dia 30 de Julho. Autor multifacetado, nos primeiros de carreira, em 1957, passou por Portugal onde registou um conjunto de fotografias que desafiaram o cânone do Estado Novo.
A historiadora de Arte Susana S. Martins estudou a obra de Chris Marker para um doutoramento e o texto que publicou nas páginas do Público resulta dessa investigação que pode ser consultada aqui. Os mistérios de Chris Marker em Portugal Susana S. Martins, historiadora de arte (IHA-FCSH/UNL) (Público, 06.08.2012) Muito antes de se ter tornado no aclamado realizador de La Jetée (1962) ou Sans Soleil (1982), Chris Marker começou por se destacar noutras áreas, nomeadamente como jornalista, poeta, ficcionista e crítico de literatura e de cinema em publicações de referência como os Cahiers du Cinéma ou a revista de esquerda Esprit. Em 1957, é lançado o 16º volume desta colecção, dedicado a Portugal. Muitas das imagens seleccionadas são profundamente desconcertantes. *Obrigado Susana.
Writing. Cinematography. Abandonment. 31 Haunting Images of Abandoned Places That Will Give You Goose Bumps. They say that the only permanent thing in the world is change. History books are one way to understand the passage of time, but there are also some real-life monuments that speak of the past in their own ways. While some of these monuments are well taken care of and protected, those that are partially or even completely run-down often are the most interesting.
Show Full Text Here’s a selection of some of the most ghostly abandoned places around the world, every single one of which has its own special charm. Beneath all the dust, rust and cracks, there are stories of people who used to live, pray, or take their daily train rides there, and when you try to imagine these people and their lives, each picture gets a special aura of nostalgia. It’s as if the people in these places just picked up and left. On the other hand, it’s also fascinating to see how some things that used to belong to people are slowly being reclaimed by nature again. Don’t these pictures just give you goose bumps? 1. 2. Ospedale Bartolini (pseudonym) - Abandoned Photography at Opacity. Free movies | Sponsor your movie | Make money | Watch movies online | Film. Filmmakers Social Network - Home Page.
Tarkovskys-stalker-poet-in-destitute. Andrei Tarkovsky's Stalker is more like a poem than any film I know. I watch it every few years, and on each viewing it is more profoundly uneasy, more beautiful, more luminous with sorrow. There may be greater films than Stalker - although surely not many - but I know of none that touches me more personally; it lives beneath my skin and quickens my sense of what it means to be conscious and alive. Tarkovsky's films often have a nimbus of prophecy, and Stalker is no exception. It is commonly pointed out that the landscape of the Zone, shot near an Estonian chemical plant in the late '70s, uncannily prefigures the abandoned homes and rusting tanks of post-catastrophe Chernobyl, but there is more to the film's haunting power than its glimpses of a post-human world littered with the detritus of civilisation.
The Stalker (Alexander Kaidanovsky) is a man whose dangerous vocation is to guide people to the Zone, an abandoned village under heavy military guard. Sérgio Miguel Silva on Behance. Mass Observation Archive | Recording everyday life in Britain.