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The History of Film by HistoryShots

The History of Film by HistoryShots

Aubonheurduweb.com | Un Blog de Cartes-sur-Tables.com qui parle de Culture numérique et Mind mapping The Stylistic Connections Between Wes Anderson’s ‘Moonrise Kingdom’ and Godard’s ‘Pierrot le Fou’ Warning: This article contains spoilers for Moonrise Kingdom. Wes Anderson is known for getting his inspiration from a variety of sources. While Anderson’s signature visual quirks make his films unquestionably his own, the director’s images, themes, and characters also emerge through an amalgamation of materials that inspire him, whether the source be the stories of J.D. In the weeks since the Cannes premiere and commercial release of Anderson’s latest, Moonrise Kingdom, several critics have noted that only does the film seem to be directly influenced by a specific director, but one particular film by that director. Having read several reviews that cite Pierrot‘s influence on Moonrise, I reflected back on both films, and here are some of the narrative and stylistic connections that came to mind… Couples on the Run Pierrot’s events make it seem a far darker film than Moonrise, ending with Ferdinand killing Marianne and her lover before killing himself. Colorful Faces Miscellaneous Objects

A Handsome Atlas: Wildly Awesome Data Visualizations from the Nineteenth Century "Visualizing Vertov" - new article by Lev Manovich with 33 visualizations available for download All shots with close-ups of faces from The Eleventh Year (Dziga Vertov, 1928). The shots are arranged in the order of their apperance in the film, left to right, top to bottom. The article presents visualization analysis of the films The Eleventh Year (1928) and Man with a Movie Camera (1929) by the famous Russian filmmaker Dziga Vertov. In some cases, we use digital image processing software to measure visual properties of every film frame, and then plot these measurements along with the selected frames. In other cases, we don’t measure or count anything. This use of visualization without measurements, counting, or adding annotations is the crucial aspect of my lab’s approach for working with media collections. The article is an experiment. The digital copies of Vertov's films were provided by The Austrian Film Museum (Vienna) which has one of the best colllectoons of film prints and other Vertov materials.

untitled Professional video on an amateur budget: A guide to buying and learning DSLR Some would have you believe that making a film requires a) investors or b) a trust fund. What’s a wannabe Spielberg brokester to do? The funny thing about film is that you could buy a $36,000 camera and still produce utter garbage, so I’m here to crack the myth that capturing amazing video requires a small fortune. DSLR (Digital Single-Lens Reflex) cameras are the middle ground between a cheap Blair Witch Project shooter and something high-end, with the cheapest entry costing about $500. With accessories and interchangeable lenses, you could have the whole package for under $1,000. Going to film school is a no-go unless you’d like to add $20,000 in student loan debt. BUYING GUIDEWhen it comes to pro/prosumer camera equipment the last place you’re going to find a deal is bigbox stores like Walmart. Canon T3i Regular Price: $799 Best Buy – $672.99 Adorama – $599 (refurbrished) Canon 60D Regular Price: $999 Best Buy – $898 Adorama - $749 (Refurbrished) Best Buy – $499.98 Best Buy – $110

Peter Kubelka's Arnulf Rainer: the film as a visualization Peter Kubelka with a wall Iinstallation of Arnulf Rainer (1960). Arnulf Rainer is a famous 1960 film by Austrian experimental filmmaker Peter Kubelka. The film consists only from black and white frames, organized in a strict system. Normally when we visualize a film or a video, we have to go through a process of reduction: scaling frames to a small size (for instance, the visualizations by William Huber shows 22,500 frames sampled from a 62.5 hr videoof Kingdom Hearts gameplay) or using geometric forms such as bars to represent some visual properties of the shots (for instance, see my visualization sketches showing patterns in shot length in two films by Dziga Vertov). A visualization of shot lengths in The Eleventh Year (Dziga Vertov, 1928). However, since Arnulf Rainer only contains black or white frames, it becomes its own visualization as soon as we unfold these frames in a sequence, as can be seen in the photo of Kuleblka's installation.

40 Maps They Didn’t Teach You In School By the time we graduate high school, we learn that they never taught us the most interesting things in there. Sure, you might be able to name the European countries or point New York on the map, but does that give a you real understanding of how the world functions? To fill this gap, we have gathered a great and informative selection of infographical maps that they should’ve shown us at school: every single one of these maps reveals different fun and interesting facts, which can actually help you draw some pretty interesting conclusions. Show Full Text What makes infographical maps so engaging is how easy it becomes to conceive graphically presented information. Without further ado, we invite you to learn things like most popular sports in different countries, who has the largest breasts, red hair map of Europe, world’s most consumed alcoholic beverages, or which brands dominate in different states of the USA. Trust us, these are way better than the ones they taught you at school!

"The Lion King" by Matt Roth The Lion King A short history of Disney-fascism by Matt Roth from Jump Cut, no. 40, March 1996, pp. 15-20 copyright Jump Cut: A Review of Contemporary Media, 1996, 2006 In this age of controversy over "children's entertainment," Disney Studios has maintained its status as purveyor of wholesome fun for the entire family — an amazing feat, considering the parade of death and gore that constitutes the average Disney feature. Disney's recent cash cow, THE LION KING, is no exception, imperiling its characters with all manner of blood-spattered mayhem and terrorizing impressionable youngsters with an emphatic display of the vaunted Disney "dark side" — that obsessive plumbing of horrors more real to children than death: parental loss, withdrawal of love, exile from family and friends, and blame for unintended acts of destruction. Unfortunately, Disney also presents a vision of adult society. PINOCCHIO begins among the honest peasants of a pristine Alpine village. Meanwhile, Scar takes over.

Synesthesia and Cross-Modality in Contemporary Audiovisuals Though written about a year ago, this essay has just been published in Senses and Society. It's related to the Synchresis project posted earlier but makes a more rigorous investigation of synaesthesia, as it is (so often) applied to fused or algorithmic audiovisuals. After a quick tour through the history of synaesthesia in the arts, it uses some nifty perceptual neuroscience to argue for an alternative model, of contemporary audiovisuals as cross-modal objects that reveal the space of relation between modalities - the map. It takes work by Andrew Gadow (below) and Robin Fox as case studies, but also touches on Oskar Fischinger, Robert Hodgin, Norman McLaren and others. The version here has plenty of pics and vids; for a more paper-based experience grab the pdf (and please use the print version for any citations). In the age of ubiquitous digital media, synesthesia is everywhere. Synesthesia is widely used as an analogy around this work. Synesthesia Fused AV and Synesthesia

La carte du monde par anamorphose On vous avait présenté il y’a quelques temps la carte de France par anamorphose de la SNCF. Le “Telegraph” vient de publier une série de cartes du monde par anamorphose pour divers type de données, permettant de se rendre compte de la place d’un pays et/ou d’une région géographique vis à vis des autres petits copains. On a par exemple ici des cartes présentant l’utilisation des transports (train, avions et 2 roues), le tourisme, la consommation d’alcool, les émissions de CO2…etc…en tout et pour tout 18 cartes instructives et passionnantes (certaines sont assez angoissantes quand même…) pour les fous de cartographie ! Voici un petite sélection : La vrai carte du monde (petit rappel) Les destinations touristiques (un peu chauviniste…) : Le nombre d’armes nucléaires (guerre froide vous avez dit ?) Consommation d’alcool (allez les bleus ! Et pour finir, la baisse des émissions de CO2 entre 1980 et 2000…étonnant ! La suite par ici ! Merci à Thierry pour la trouvaille !

10 Great Scenes in Musical History Movies and TV After the surprising success of my first list (by which I mean it wasn’t immediately tossed onto the virtual slush pile), I felt inspired to write another. This list focuses on some of the best-loved scenes in musical theater history, and covers roughly sixty-six years. Needless to say, it’s difficult to compound six decades into 5000-odd words, but one tries. Unlike in my last list, not all of the musicals these scenes are from were successful or memorable, but the scenes themselves are classic, innovative or showcase great talent. I’ve been confident enough to go into far more detail this time around, though I’ve also tried to make certain not to repeat anything that was already visited in the last list. Singin’ in the Rain Singin’ in the Rain (1952) A perennial classic, Singin’ in the Rain produced a star in 19-year-old Debbie Reynolds, while further cementing the brilliance of Gene Kelly. Two Little Girls from Little Rock Gentlemen Prefer Blondes (1953) Girl Hunt

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