Persmap Wildcards 2016

Total Page:16

File Type:pdf, Size:1020Kb

Persmap Wildcards 2016 VAF WILDCARDS 2016 In 2005 werden de VAF Wildcards in het leven geroepen. Intussen zijn ze een onmisbaar instrument om nieuw en veelbelovend talent te begeleiden van de schoolbanken naar de professionele Vlaamse filmwereld. Afgestudeerde filmmakers kunnen met hun eindwerk meedingen naar een VAF Wildcard. De uitreiking van de prijzen vindt plaats tijdens het Internationaal Kortfilmfestival van Leuven. Het festival vertoont bovendien alle films die deelnemen aan de Wildcardcompetitie. De films kunnen er ‘on demand’ bekeken worden op een aantal interactieve schermen. De laureaten van de VAF Wildcards krijgen een premie om een eerste buitenschools project te verwezenlijken buiten het reguliere selectiecircuit van het Vlaams Audiovisueel Fonds. Bovendien worden de winnaars individueel begeleid door een professionele coach en krijgen ze carte blanche op vlak van onderwerp, lengte etc. van dit toekomstige project. Alle Wildcards samen zijn goed voor 310.000 EUR. Zo zijn het meteen de grootste filmprijzen van het land. Er worden Wildcards uitgereikt binnen alle categorieën die het VAF ondersteunt. Er zijn twee fictie Wildcards (60.000 EUR per Wildcard), twee documentaire Wildcards (40.000 EUR per Wildcard), één animatie Wildcard (eveneens 60.000 EUR) en – uniek dit jaar - twee FilmLab Wildcards (25.000 EUR per Wildcard). De VAF Wildcards zijn op korte termijn een begrip geworden. Filmscholen en -studenten hechten er veel belang aan. Producenten en zenders houden de wildcardwinnaars scherp in de gaten. De populariteit van de Wildcards blijkt o.m. uit het aantal inzendingen: 90 dit jaar. De resultaten en het professioneel parcours van een aantal wildcardwinnaars spreken tot de verbeelding. Gilles Coulier, Adil El Arbi en Bilall Fallah, Tom Van Avermaet, Nathalie Teirlinck, Gust Van den Berghe of Sahim Omar Kalifa zijn maar enkele fictieregisseurs die ooit een VAF Wildcard wonnen en intussen hun naam vestigden. Documentaire laureaten Eva Küpper, Sofie Benoot en Tim De Keersmaecker maakten de voorbije jaren opvallend nieuw werk. Wouter Bongaerts en Boris Sverlow zetten hun Wildcardpremie in voor het respectievelijk ‘Mia’ en ‘Gerontophobia’. En intussen is het uitkijken naar de Wildcardfilms van jonge beloftes Deben Van Dam, Karen Vàzquez Guadarrama en Nienke Deutz en Miki Ambrozy. LAUREATEN WILDCARDS 2016 FICTIE Abel Bos/kip synopsis Een zwarte komedie over een absurd familieportret waarin een 10-jarig meisje centraal staat. Haar kille omgeving en afwezige ouders zorgen ervoor dat ze zich steeds vreemder begint te gedragen om een reactie uit te lokken. Haar babysitter ziet het gebeuren, maar is niet in staat om er wat aan te veranderen. regisseur » Abel Bos school » School of Arts HoGent (KASK) script » Abel Bos DoP » Sander Vandenbroucke montage » Abel Bos geluid / muziek» Matthias Ten Houte de Lange duur » 15’33” contact Abel Bos [email protected] +31 624 883 801 Jose Daniel Granados Carranza/Yibril synopsis Yibril is het verhaal van Gabriel, een Spaanse straatartiest, die problemen heeft met de politie, en Hala, een Syrische vluchtelinge die vastgehouden wordt door smokkelaars. Gabriel vindt een rinkelende telefoon in een vuilbak in Brussel. Aan de andere kant van de lijn smeekt Hala hem om hulp. Ze ontdekken dat ze zich eigenlijk niet ver van elkaar bevinden en Gabriel gaat op zoek, in de straten van Brussel, naar Hala, om haar te helpen. regisseur » Jose Daniel Granados Carranza school » RITCS School of Arts script » Jose Daniel Granados Carranza DoP » Silvian Hettich montage » Urszula Mieszkielo geluid / muziek » Vincent Groos duur » 18’23" contact Jose Daniel Granados Carranza [email protected] +32 497 29 56 66 LAUREATEN WILDCARDS 2016 DOCU Ira Goryainova/die ruinen von europa synopsis In een Europese unie opgedeeld in verschillende pro- en contrakampen, tegelijkertijd geconfronteerd met een vluchtelingencrisis en de opkomst van rechts, onder een dagelijkse pletwals van opinies en meningen, clickbait-nieuwsflashes en een voortdurende stroom van beelden, haakt een bepaalde groep mensen bewust af om alles vanaf de zijlijn te bekijken. ‘Die Ruinen von Europa’ volgt een jonge Parisienne, een echte hedendaagse Ophelia/Elektra zoals Heiner Müller ze portretteerde in zijn apocalyptische theatertekst ‘Die Hamletmaschine’ (1977), die de leidraad is doorheen deze onbehaaglijk donkere trip die je tot nadenken dwingt. De Ophelia van deze tijd is destructief, maar spreekt tegelijkertijd in een poëtisch-cynische toon over macht, gebruik en misbruik. Een stem vanuit de donkerste hoek van een Europa in een stevige mentale crisis. regisseur » Ira Goryainova school » RITCS School of Arts script » Ira Goryainova DoP » Patrick Stevens montage » Ira A. Goryainova geluid » 33MHZ duur » 47’ contact Ira Goryainova [email protected] +32 493 53 17 27 Juanita Onzaga/the jungle knows you better than you do synopsis Een zus volgt haar broer, ze filmt hem terwijl ze hem een brief schrijft, een brief die een vraag stelt, een vraag over de mysterieuze dood van haar vader. Dit brengt hen tot een zoektocht: ze verlaten Bogota, de onmogelijke stad. De zoektocht leidt ons tot diep in de Colombiaanse jungle, waar ze waarheden ontdekken en onverwacht bezoek krijgen. Een verwondering over wat de dood, spoken, geesten en broederschap betekenen. regisseur » Juanita Onzaga school » LUCA School of Arts (campus Sint-Lukas Brussel) script » Juanita Onzaga DoP » Juanita Onzaga montage » Mira Matthew geluid / muziek» Senjan Jansen, Lucho Quintanilla duur » 20’ contact Juanita Onzaga [email protected] +32 485 38 51 93 LAUREATEN WILD CARDS 2016 ANIMATIE & FILMLAB Jasmine Elsen/kastaars synopsis Niemand van de flat wil naar buiten kijken. Tot een kip hen wakker schrikt. regisseur » Jasmine Elsen school » RITCS School of Arts script » Jasmine Elsen DoP » Jasmine Elsen montage » Jasmine Elsen geluid / muziek» Ehsan Yadollahi duur » 5’40” contact Jasmine Elsen [email protected] +32 483 58 33 28 Camille Picquot/hollow hours synopsis Paco en Raoul zijn twee twaalfjarige jongens. Ondanks hun leeftijd leven en gedragen ze zich als volwassenen. Ze zijn volkomen autonoom en beslissen zelf hoe ze hun tijd benutten. Hun maturiteit lijkt volkomen aanvaard: niemand rondom hen lijkt zich daarover te verwonderen. Afgezien van één enkele persoon: de filmmaker zelf. Geïntrigeerd door hun zorgeloosheid en hun stoutmoedigheid, volgt hij hen in hun dagdagelijkse leven. “Hollow Hours” is een dubbelportret, die verschillende lezingen lijkt te suggereren. De grens tussen fictie en realiteit blijft vaag, terwijl de poëzie de onbeduidendheid en ruwheid tracht te verbinden. De film bevraagt de betekenis van het nietsdoen, de vrijheid en de marginaliteit. Het gedraagt zich als een loop: als dit een verhaal is beginnen we er middenin. regisseur » Camille Picquot school » School of Arts HoGent (KASK) script » Camille Picquot DoP » Raimon Gaffier montage » Théophile Gay-Mazas geluid / muziek» Camille Picquot, Lucas Doméjean, Edith Herregods, Hélène Clercq-Denizot duur » 35’ contact Camille Picquot [email protected] +32 489 13 01 78 Eva Giolo/remote synopsis Remote is een suggestief verhaal. Portret van een tedere kameraadschap op het afgelegen Ierse platteland. Wonende in de eenvoud van het moment, het wachten en de herhaling van de dagen. Dit is een plek waar geen ruimte is voor het bedenken van een andere toekomst dan de eeuwige herhaling van het heden. Dit is een plek waar je overleeft, sterk bent, alleen met de wind, de ogen verbrand door het licht. Een plaats van onuitgesproken tederheid, een landschap van stilte en eenzaamheid waarin er altijd iemand zal zijn. regisseur » Eva Giolo school » School of Arts HoGent (KASK) script » Eva Giolo DoP » Eva Giolo montage » Eva Giolo geluid / muziek» Eva Giolo, Yoerik Roevens duur » 23'41'' contact Eva Giolo [email protected] +32 476 45 61 19 LAUREATEN WILDCARDS 2005-2015 PALMARES FICTIE DOCUMENTAIRE ANIMATIE FILMLAB LAUREATEN WILDCARDS 2015 | FICTIE Anouk Fortunier/drôle d’oiseau synopsis Zoe wordt na een schooldag opgepikt door haar bipolaire vader, Pierre. Gewapend met haar fantasie tracht ze de problemen waarmee haar vader dagelijks kampt te verzachten. regisseur » Anouk Fortunier school » Luca School of Arts campus Sint-Lukas script » Anouk Fortunier duur » 14’ wildcard-project » MAD’OUK status » scenariofase coach » Simon Ellis producent » NVT palmares 2016 » Dames Draaien (BE)/ Filmfestival Delicatessen (BE)/ Ciné Privé (BE)/ Kort Geschoten (BE)/ Brussels Film Festival - Prijs voor beste cinematografie(BE)/ De Kortste Nacht - Go Short International Short Film Festival Nijmegen (NL)/ Filmfestival Delicatessen (BE)/ Cannes Short Film Corner (BE)/ Montefeltro Film Festival (IT)/ Filmfestival Oostende (BE)/ Encounters Short Film & Animation Festival (UK)/ Shnit International Film Festival (CH)/ Au Contraire Film Festival on Mental Illness (CA)/ Filem'On International children's Filmfestival (BE)/ Hyperfest International Student Film Festival (RO)/ Rendezvous with Madness Film Festival (CA)/ International Short Film Festival Sleepwalkers (EST)/ Kunst Kraakt Fabriek (BE) 2015 » Film Fest Gent – Publieksprijs Belgische studentencompetitie (BE) / Internationaal Kortfilmfestival Leuven (BE) Leonardo van Dijl/umpire synopsis De leegte die de coach, Jeremy P. achterlaat in het leven van de veertienjarige tennisbelofte, Axelle D. wordt groter en groter nu zijn aanhouding verlengd wordt. Stil wacht Axelle hun weerzien af. Wanneer duidelijk wordt dat Jeremy niet meer zal weerkeren, begrijpt Axelle dat haar stilzwijgen niet volstaan
Recommended publications
  • HAS 19 AFF Programma DEF.Indd
    8TH ASCONA FILM FESTIVAL 28.02/01.03/02.03 2019 www.asconafilmfestival.ch 1 Thanks to all supporters of Ascona Film Festival Ascona STRP Società Ticinese di Relazioni Pubbliche Welcome to the 8th Ascona Film Festival È con grande piacere che presento questa Cari amici cinefili, benvenuti all’VIIIa edi- VIIIa edizione dell’Ascona Film Festival zione dell’Ascona Film Festival 2019. 2019. Innanzitutto vorrei ringraziare il nostro L’avventura nasce 8 anni fa e conta a affezionato pubblico ed i nostri Partners tutt’oggi più di 18’000 candidature da per la fiducia che hanno riposto in noi e 125 paesi. Anche quest’anno la selezione per l’affetto con cui, in tutti questi anni, artistica, visto l’elevato numero e la qua- ci hanno seguito in questa meravigliosa lità dei film giunti da ogni dove, vede avventura. Sono tanti i giovani (e meno cortometraggi pluripremiati a livello in- giovani) cineasti nazionali e internazio- ternazionale in una sorta di “Millesime nali che hanno trovano nell’Ascona Film 2019, selezione speciale Ascona”. Festival un trampolino di lancio per i loro film e solo il vostro sostegno ha permesso Quasi ogni film da me visionato e selezio- che ciò potesse accadere. nato personalmente per Voi è vincitore di uno o più Film Festival di livello interna- La manifestazione quest’anno si occu- zionale, senza disdegnare però natural- perà naturalmente di cinema ma anche di mente anche corti appena entrati nel arte, letteratura e bellezza intesa come circuito. rapporto mutevole e creativo tra uomo e mondo e come relazione di scambio reci- Questa VIIIa edizione è dedicata alla mostra proco.
    [Show full text]
  • Virgil Widrich Case Study
    Virgil Widrich Case Study: Night of a 1000 Hours (Austria, Luxembourg, Netherlands 2016) Luxembourg, 4th April 2017 VIRGIL WIDRICH Thank you very much. I have a lot of material. I could talk for ten hours – I will not. I’m very happy to be interrupted. I don’t want to fill the whole time with a lecture, so you are welcome to ask questions. Night of a 1000 Hours took nine years to make. We were at Sources in 2009, when we were much younger – except you, of course. [laughter] We were in Girona, Spain. I worked with a lot of people on this script who helped me. Miguel Machalski was one of them. Louise Gough acted as a special adviser on the script. As you’ve seen the film, I can tell you about the basic ideas behind it. Something that’s always fascinated me is this idea of Judgment Day. Having been raised Catholic, I knew all those stories and I liked the idea that one day all the dead would come out of their graves to be judged by God. I was not so keen on the God part, but what people would talk to each other about. Why should only God judge when there would also be family members? For many years, I felt this could be the seed of a great film. On a worldwide scale, this would be a very long movie, so it is reduced to one family to be able to tell it in a feature film. The dead come back with a lot of secrets, of course, and because all the witnesses of these secrets are there, it’s very hard to keep these secrets.
    [Show full text]
  • Download the PDF (7Mb)
    belfast film festival 1st-9th APRIL 2020 :o wat*esd ev! Awat* adi _ ck m8hed 20 selly raby kane 1 OUR FUNDERS INTRODUCTION For more than 20 years we have celebrated the creativity, politics and joy film brings. We have witnessed with pride the growth of the indigenous filmmaking sector; hosted exciting ‘movie star’ guests; showcased brilliant international filmmaking talent; and shared thousands of diverse stories and cultures with you, our audience. Over the coming decade we will do it all again, re-energised and excited by the wealth of talent and love of film that surrounds us. Michele Devlin. Festival Director From Belfast to the World When I grew up in Belfast, there was no film festival. I was passionate about movies, and visually hungry, but there was no annual event to feed my hunger. I went searching elsewhere, and have ended up working with some of the greatest ACCOMMODATION OFFICIAL MEDIA people in cinema – Tilda Swinton, Jane Fonda, Sean Connery, etc. – but I think back to the 70s and 80s and imagine what more we could have achieved as movie PARTNER PARTNERS lovers and makers if we’d had a film festival. Thankfully we’ve seen brilliant changes in our society since then. Peace has returned, new populations have moved to our city, and we now have world class film studios and programme makers. The quality of our lives has improved and our horizons have opened. Film is the great horizon-opener. Since its birth 20 years ago, the Belfast Film VENUE Festival has had a centrifugal imagination.
    [Show full text]
  • Broschüre Innovative Film Austria
    Published by Federal Chancellery of Austria Arts Division 2014 Vienna — Austria innovative film austria ——— Imprint Federal Chancellery of Austria Arts Division / Film Department Barbara Fränzen – Director Concordiaplatz 2 1014 Vienna/Austria +43 1 531 15—206 880 [email protected] www.bka.gv.at Publisher and Concept Carlo Hufnagl – Film Department Editor Brigitte Mayr Translations Christine Wagner John Rayner (p. 20—35) Photographs © Maria Kracíková (p. 21) © Jürgen Keiper (p. 25) © Judith Wieser-Huber (p. 32/33) Editorial Deadline October 2014 Graphic Design up designers berlin-wien Walter Lendl Print Remaprint Litteradruck Contents INTRODUCTION 11 Dubito ergo sum by Federal Minister Josef Ostermayer FACTS + FIGURES 12 Budget 13 Most Frequent Festival Screenings 2011–2014 14 Most Frequent Rentals 1995–2014 15 Most International Awards Received 1998–2014 16 Outstanding Artist Awards 16 Austrian Art Awards 17 Thomas Pluch Screenplay Awards OUTSTANDING ARTIST 20 Johannes Hammel AWARDS 24 Ivette Löcker AUSTRIAN ART AWARD 30 Florian Flicker FILMS 39 Fiction 43 Documentary 63 Avant-garde 67 Fiction Short 71 Documentary Short 75 Avant-garde Short FILMS COMING SOON 89 Fiction Coming Soon 99 Documentary Coming Soon 129 Avant-garde Coming Soon 133 Fiction Short Coming Soon 137 Documentary Short Coming Soon 143 Avant-garde Short Coming Soon SCHOLARSHIPS FOR YOUNG TALENTS 159 Start-up Grants for Young Film Artists CONTACT ADDRESSES 167 Production Companies 169 Sales 169 Directors INDEX 172 Films 174 Directors introduction facts + figures ———— 10>11 Introduction Dubito ergo sum At the start of the 20th century, Rainer Maria Rilke wrote: “Wishes are the memories coming from our future.” Anyone thinking along well-trodden paths and perspectives is unlikely to grasp what these words mean.
    [Show full text]
  • Andrej Bajuk: I Am Convinced That Any Increase in Salaries, Which Would in Real Terms Exceed Productivity, Is Destructive
    politicsenviroment 2 culturebusinesssports January 2008 A Historic Opening Meeting: The European commission and the Slovenian government discuss key challenges Janez Janša: Presidency Wants to Increase satisfaction of EU Andrej Bajuk: I am convinced that any increase in salaries, which would in real terms exceed productivity, is destructive Our excellence: Dreamachine, when the sky is the limit − custom made motorcycles ISSN 1854-0805 QUOTESofTHEfortnight Janez Janπa /Prime Minister of the Republic of Slovenia/ Presidency wants to increase the satisfaction of EU, Strasbourg, 16 January: ”It is our greatest wish that our contribution will,month by month, increase the general happiness of European citizens. That, in time, some day any person you meet on the street anywhere in the European Union will without hesitation answer, when asked whether he or she cares about the future of the European Union, “I care about Europe because I know that Europe cares about me.” Jan Figel /European Commissioner for Education, Training, Culture and Youth/ One and one always makes more than two, Ljubljana, 7 January: “We wish to exceed multicultural societies, where cultures and cultural communities simply cohabit and live parallel lives. The study of racial disturbances in Great Britain, where they ‘only live side by side’ is worrying, so genuine dialogue that is not a sum of individual quotes is the more important − in it, one and one always makes more than two.” Danilo Türk /President of Slovenia/ The European Parliament is the biggest place of European synergy, Ljubljana, 8 January: “The European Parliament is actually the biggest and most interesting place of European synergy.
    [Show full text]
  • Innovative Film Austria ——— Imprint
    Published by Federal Chancellery of Austria Division for Arts and Culture 2018 Vienna — Austria innovative film austria ——— Imprint Federal Chancellery of Austria Division for Arts and Culture Film Department Barbara Fränzen – Director Concordiaplatz 2 1014 Vienna/Austria +43 1 531 15–206 880 [email protected] www.kunstkultur.bka.gv.at Editor Brigitte Mayr Concept Carlo Hufnagl – Film Department Translation Renée von Paschen Eve Heller Editorial Deadline October 2018 Graphic Design up designers berlin-wien Walter Lendl Print Schmidbauer GmbH, Oberwart Contents INTRODUCTION 13 Snap-Shots by Federal Minister Gernot Blümel 15 Perceiving Visions by Maria Morata FACTS + FIGURES 20 Budget 2012–2017 21 Most Frequent Festival Screenings 2015–2018 22 Outstanding Artist Awards 2014–2018 22 Austrian Art Awards 2014–2018 23 Thomas Pluch Screenplay Awards 2014–2018 OUTSTANDING ARTIST 26 Sudabeh Mortezai AWARDS 2017 29 Mona Willi AUSTRIAN ART AWARD 2017 34 Brigitta Burger-Utzer FILMS 42 Fiction 49 Documentary 67 Fiction Short 71 Documentary Short 75 Avant-Garde Short FILMS COMING SOON 84 Fiction Coming Soon 89 Documentary Coming Soon 118 Avant-Garde Coming Soon 123 Fiction Short Coming Soon 127 Documentary Short Coming Soon 131 Avant-Garde Short Coming Soon SCHOLARSHIPS FOR YOUNG TALENTS 138 Start-Up Grants for Young Film Artists CONTACT ADDRESSES 146 Production Companies 151 Sales 152 Directors INDEX 156 Films 157 Directors 158 Photo Credits introduction ———— 12__13 Introduction Snap-Shots Art history has a long chronology of styles and modes of expression, which made people sceptical at their first appearance, yet later came to be celebrated as masterly. The medium of film has not remained untouched by this phenomenon, either.
    [Show full text]
  • CIN 3630 EXPERIMENTAL FILMMAKING (4 Credits) Fall 2018 CRN 44744 Oakland University, College of Arts and Sciences, Cinema Studies, Department of English
    CIN 3630 EXPERIMENTAL FILMMAKING (4 credits) Fall 2018 CRN 44744 Oakland University, College of Arts and Sciences, Cinema Studies, Department of English Class Meeting Time: Tuesdays, 5:00-8:20 pm Editing lab and classroom: 228 VAR; additional lab 231 HH; studio: 112 VAR Professor: Andrea Eis Email: [email protected] Office: 528 O’Dowd Hall Office phone: 248-370-2987 Office Hours: Thursdays, noon-12:45 pm; Tuesdays, 4-5 pm; and by appointment OU/CIN webpage: oakland.edu/english/academic-programs/cinemastudies Facebook (OU.Cinema.Studies); Twitter (OUCinemaStudies); Instagram (@oucinemastudies) CIN 3630 Catalog Description Range of experimental film techniques, with a focus on aesthetic practices that fall outside of mainstream commercial filmmaking. (Formerly CIN 368) Prerequsite: CIN 1600. Course Description and Overview Learning Objectives—Students will • critically analyze and evaluate historic and contemporary experimental short films • develop proficiency in a range of digital processes and techniques of experimental film • identify and investigate techniques for conducting aesthetic research • develop conceptual and aesthetic strategies for use in experimental filmsc • experiment with the grammar of cinematic language • create micro and short-form films in a variety of aesthetic and conceptual modes Experimental films are notoriously hard to define and categorize, but usually they present personal visions and expressive interests that break with traditional rules and styles of commercial filmmaking. In recent years, experimental and art film forms, styles and techniques have found their way into the Hollywood mindset, as filmmakers push traditional boundaries. The experimental approaches you will see and create in this class will give you rich expressive options to use in other kinds of filmmaking as well, both narrative and documentary.
    [Show full text]
  • Pressemappe D+E 12/99
    tx-transform Presseinformation/Press information Kontakt/Contact Virgil Widrich Film- und Multimediaproduktions G.m.b.H. Lindengasse 32, 1070 Vienna, Austria Tel.: +43-1-523 74 39-0, Fax: +43-1-523 74 39-30 e-mail: [email protected] http://www.widrichfilm.com Zusätzliche Informationen und Fotos zum downloaden/ additional information and photos to download: www.tx-transform.com Verleih und Weltvertrieb des Kurzfilms/ Distribution and World Sales of the short film: Sixpack Film Neubaugasse 45/2/13 (P.O. 197), 1070 Vienna, Austria Tel.: +43-1-526 09 90, Fax: +43-1-526 09 92 e-mail: [email protected] http://www.sixpackfilm.com "Durch die Eisenbahn wird der Raum getötet, und es bleibt uns "Space has been killed by the train, and now only time nur noch die Zeit übrig." (Heinrich Heine, Lutetia. remains.” (Heinrich Heine, Lutetia. Reports on Politics, Berichte über Politik, Kunst und Volksleben) Art and Popular Life) tx-transform – das Filmverfahren tx-transform – the film technique tx-transform ist eine neue, von Martin Reinhart entwickelte tx-transform is a new film technique developed by Martin Filmtechnik, welche die Zeit (t)- und die Raumachse (x) Reinhart that transposes the time axis (t) and the space im Film miteinander vertauscht. Normalerweise bildet axis (x) with one another in film. Normally, each jeder einzelne Filmkader den ganzen Raum, aber nur individual frame of film depicts the entire space but only einen kurzen Moment der Zeit (1/24 Sekunde) ab. Bei a moment in time (1/24 second). With tx-transformed tx-transformierten Filmen ist es genau umgekehrt: films, it is just the opposite: each frame shows the ent- Jeder Filmkader zeigt die gesamte Zeit, aber nur einen ire time but only a tiny portion of space (the left side of winzigen Teil des Raumes (der linke Teil des Bildes ist the picture is „before,” the right side is „after”).
    [Show full text]
  • Aporias of the Digital Avant-Garde
    Aporias of the Digital Avant-Garde Steve F. Anderson Abstract Euro-American Structural film movement of the 1960s This article maps two divergent trajectories within a nar- and 70s, and to explore resonances with a range of cul- rowly defined sphere of short-form, time-based digital tural concerns of relevance to the digital age. I do not, media created between 1995 and 2005. Works dis- however, wish to spend much time justifying my use of cussed include music videos, design-oriented short the term “avant-garde,” which admittedly carries specific films, and motion graphics by directors Michel Gondry, historical connotations which are not all applicable to the Virgil Widrich, Mike Nourse, Barbara Lattanzi, Rico present discussion.[3] I will argue that these questions Gatson, and design firms Logan, Ramon & Pedro, and guide us toward two primary terminal points. The first is H5. These works are considered in relation to the histor- the movement toward a kind of "open source" video ical avant-garde – particularly the Structural film move- authoring modeled after the combined practices of open ment of the 1960s and 70s – and analyzed as respons- source programming communities and peer-to-peer file es to a range of cultural concerns specific to the digital sharing networks – two practices that have significance age. The analysis identifies movement toward two termi- for the future of digital media across a wide range of nal points: first, a mode of remix-based montage production and distribution practices. The second is the inspired by open source programming communities and emergence of what I call the "digital analogue," a mode peer-to-peer networks; and second, the emergence of a that foregrounds material aspects of production seem- mode of imaging termed the "digital analogue," which ingly in defiance of the conventional wisdom that digital foregrounds the material basis of digital production.
    [Show full text]
  • Compressing Identity: Creative Thought and Meaning Construction in Copy
    B(l)ending time, (de)compressing identity: Creative thought and meaning construction in Copy Shop (2001) 1 Abstract According to the critics of Conceptual Blending Theory (CBT), most of its creativity- related applications tend to conflate the role of producer and consumer, implicitly proposing the deduction of the former’s creative perspective from the finished product through a process of reverse-engineering the latter’s meaning-making strategies. However, given the non-linearity and multi-directionality of the actual creative praxis, the relation between these two roles as heuristic categories need not be considered so much oppositional, as dialectical. Investigating the cognitive mechanisms involved in the ongoing creative process within the context of this dialectical relationship can help us gain some insight into both perspectives, while eschewing the elusiveness of their precise demarcation. The case study presented in this article constitutes such an attempt. By adopting a CBT approach, it offers an interpretation of the creative thinking behind the 2001 short film Copy Shop, informed by the documented insights of its creators. The article proposes a shift in primary focus from the mechanics of conceptual blending to its consequences in reference to the compression and decompression of vital relations and, more particularly, Time and Identity. On one hand, it aims at examining how the particular ways of populating and interrelating the mental spaces that input to the 2 blend at selected time points in the film occasion Time compressions and shape temporal experience. On the other hand, it concentrates on demonstrating how Copy Shop narrativizes the same processes of (de)compressing Identity that inform the conceptual blends it proposes.
    [Show full text]
  • Keep Calm and Read Editorial
    THIS IS A FREE COPY KEEP CALM AND READ The English Students’ Newspaper March 2013, Issue XII EDITORIAL Ema Karo CURRENT AFFAIRS ........................... 2 This year a new ENgLIST editorial board was created. This has made a lot of people extremely happy and has been DISCUSSIONS .................................... 3 widely regarded as a good move. EVENTS ............................................. 4 We have brought forth an interesting selection of articles in an effort to make your procrastination much more FOREIGN CORRESPONDENTS ........... 6 intellectually stimulating. Among this carefully selected array of articles you will find some (more or less current) INTERVIEWS ..................................... 7 film and book reviews, tap into the wonderful world MUSIC ............................................... 9 of literary creations, dive into the world of music and fascinating new gadgets, feel sorry for the linguists, CINEMA ........................................... 10 endure the agony of Black Friday, pay tribute to the Loch Ness monster and learn what it means to be a linguistic BOOKS ............................................ 13 prostitute. LITERARY CORNER ......................... 15 If you’re reading this, that means that you’re already a proud owner of your very own issue of ENgLIST, so what LINGUISTICS ................................... 18 are you waiting for? You’re in for an exciting read, but keep in mind: ENgLIST is best read with one hand on the SPORT ............................................. 21 “Bible”, swearing off all other false gods. Grab a beverage of GEEKY CORNER .............................. 22 your choice and the entertainment is on us. ONE FOR THE ROAD ....................... 23 CURRENT AFFAIRS Current Affairs Section Editor: Aleš Oblak “Sarcasm is the spice of life.” The US Presidential through the virtue of being the candidates of the two Chrysler car company, which was then going to be sold large political parties that exist in the U.S.
    [Show full text]
  • TOCC0255DIGIBKLT.Pdf
    GARA GARAYEV Sonata for Violin and Piano; 24 Preludes for PIano Sonata for Violin and Piano (1960)* 19:39 1 I Moderato 5:43 2 II Recitativo – Andante 5:55 3 III Pastorale (Moderato) 2:38 4 IV Fantasia (Andante) 5:23 24 Preludes for Piano (1951–63)** 41:35 Book I 8:14 5 No. 1 Allegro molto 1:29 6 No. 2 Andante 1:49 7 No. 3 Allegro molto 0:59 8 No. 4 Andante cantabile 1:41 9 No. 5 Moderato 1:10 10 No. 6 Allegro con brio 1:06 Book II 8:53 11 No. 7 Moderato 1:18 12 No. 8 Allegro non troppo. Mesto 1:29 13 No. 9 Andante tranquillo 1:25 14 No. 10 Allegro con fuoco 1:37 15 No. 11 Veloce 0:53 16 No. 12 Andante lugubre 2:11 2 GARA GARAYEV Sonata for Violin and Piano; 24 Preludes for PIano Book III 12:00 17 No. 13 Allegro moderato 1:30 Sonata for Violin and Piano (1960)* 19:39 18 No. 14 Andante mesto 2:14 1 I Moderato 5:43 19 No. 15 Allegro giocoso 1:33 2 II Recitativo – Andante 5:55 20 No. 16 Tranquillo rubato 2:23 3 III Pastorale (Moderato) 2:38 21 No. 17 Andante maestoso 2:06 4 IV Fantasia (Andante) 5:23 22 No. 18 Andante cantabile 2:14 24 Preludes for Piano (1951–63)** 41:35 Book IV 12:28 23 No. 19 Andante 1:54 Book I 8:14 24 No. 20 Molto moderato 2:39 5 No.
    [Show full text]