Hasil untuk "Motion pictures"

Changsong Wang, Lucyann Snyder Kerry

Petr Mareš

Roman Schieber, Florian Meier

Renzo Piano Building Workshop designed a 290,000 sf museum celebrating the artistry and technology of film, becoming the world’s first museum and event space devoted to the Motion Picture. The 388 Mio USD project consist of a six story tall renovated existing building and a dome-shaped iconic new building housing a 1,000-seat theater. Both buildings are linked by several – partially suspended – bridges. The 150 ft diameter dome is a steel grid shell with cable bracing and flat, shingled glass panels on a secondary layer. The single-layered curved structural steel tubes have a diameter of 4 inches only. With an airy and weightless quality, the globe’s structure seems to dissolve into the background. The construction of the steel glass structure was completed in autumn 2019; grand opening of the museum is planned for summer 2020. Knippers Helbig was responsible for design and engineering of the structure and glazing system of spherical glazed gridshell structure from concept stage until signed and sealed drawings and calculations and was responsible for design and engineering of the bridges during Design Development.

Kriss Ravetto-Biagioli, Martine Beugnet

While the initial reception of Alfred Hitchcock's Vertigo (1958) was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil (1983), to Brian De Palma's Obsession (1976), and David Lynch's Mulholland Dr. (1999). What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is also a shrewdly reflexive film that haunts filmmakers, critics, and artists alike, raising fundamental questions about the ontology of moving images and the regime of fascination (exemplified by Hollywood) that churns them out. Douglas Gordon's Feature Film (1999), D.N. Rodowick's The Wanderers (2016), and Lynn Hershman's VertiGhost (2017) are contemporary examples of how the appropriation and contemplation of some the film's most iconic motifs (the figures of Madeleine, the spiral, the copy or fake, and the fetish), themes (liebestod, obsession, the uncanny) and strategies (mirroring, duplicity, and disorientation) ask us to rethink the relation of fetishism to fabulation, and supplementarity to dissimulation and social engineering. Feature Film, The Wanderers, and VertiGhost are supplementary works, but like the original film they are about duplicity, doppelgänger, and dissimulation. What interests us is how they challenge the authority over, or even proximity to, that which returns in the form of the supplement. And ultimately, attaching themselves to the chain of forgers and forgeries, these supplementary works take their place in the vertiginous sequence of substitutions the film established: a neat allegory for a reign of the digital ghosting that Hitchcock could never have anticipated.

Lisa Purse

The digital surface in cinema has, throughout its relatively brief history, been subject to a familiar “iconophobic” tendency, documented by Rosalind Galt (2011), to denigrate surface decoration as “empty spectacle” (p. 2). In early scholarship on computer generated (CG) images in cinema, the digital surface's alleged seamlessness and “new depthlessness” frequently became an overdetermined nexus of loss: of material presence, of an indexical relation to the world and lived experience, and of the continuation of older traditions of narrative cinema. Today, digital visual effects sequences in mainstream cinema continue to be framed by film reviewers in negative terms: as variously lacking imagination, realism, narrative depth, and affective power. Digital visual effects and digital media scholarship have done much to reclaim the cultural significance of mainstream digital visual effects sequences and their capacity to speak to a rapidly evolving and increasingly encompassing digital media ecology. Yet the formal heterogeneity of this evolving period of mainstream aesthetic consolidation and experimentation with digital images, surfaces and spaces has yet to be fully acknowledged. This article seeks to contribute to this broader task by focussing on the mainstream cinematic history of the digital composite, and specifically those moments where it displays a particularly self-reflexive character. If the digital composite has traditionally been characterised by its attempt to totally erase signs of its composite nature, across the period of CG images' proliferation in cinema an occasional figure emerges that seeks to do the opposite: a digital composite that formally fragments, foregrounds, and scrutinises the digital surfaces that constitute it. Drawing on scholarship on the computer image, digital media and the post-cinematic, this article will argue that these returns of the self-conscious digital composite speak meaningfully to their historical context.

Catherine Constable, Matt Denny, Timotheus Vermeulen

Anna Magdalena Elsner

Mourning is predominantly understood as an emotional process caused by the loss of a beloved other. This is challenged in this article on Hervé Guibert's 1990 La Pudeur ou l'impudeur, a documentary in which the author and photographer represents his physical and emotional suffering through the last stages of HIV-AIDS. The article explores this suffering via the idea of ‘self-mourning’, which denotes Guibert's reflection on his own mortality in the light of terminal illness. In particular, the article focuses on what happens to the notion of time in mourning against the backdrop of Gilles Deleuze and Jean-Luc Nancy.

Clara Garavelli

Secuencias

Manuela Penafria

<p>O webdocumentário é discutido enquanto obra que, no âmbito do atual panorama de produção artística, contribui não apenas para uma evolução do documentário, que se torna interativo mas, também, para uma evolução das tecnologias digitais interativas. Entendo o webdocumentário como um recorte do mundo da vida com dois tipos de abordagem: <em>centrada </em>e <em>global</em>, a que correspondem uma navegação <em>disseminada</em> e <em>cumulativa</em>, respetivamente e nas quais o utilizador assume o papel de explorador.</p>

Frank Kessler

This article discusses a corpus of travelogues filmed by Pathé Frères in the Netherlands btween 1909 and 1914. Accordinf to the catalogue description, these films mainly present views of rural areas, concentrating on the region around the Zuiderzee, in particular the village of Volendam and the island of Marken, both very important places for tourism at that time. The catalogue descriptions continuously refer to the picturesque qualities of the views and highlight the emblematic aspects of the country: windmills, canals, cheese, local costumes and folkloristic dances. Almost all of the films avoid showing the modern side of the Netherlands, and, except Rotterdam and Alkmaar, no cities are shown. Holland thus appears as a "timescape," a place situated not only geographically, but also idealistically in an indefinite past. Two surviving prints reveal interesting formal features such as editing patterns and close framings that are extremely rare in fictional films from the same period. Each one follows a different logic: while Comment se fait le fromage de Hollande depicts the different stages of the cheese production process, Coiffures et types de Hollande functions like an album of moving photographs, showing women's heads and their traditional attire. Both however clearly privilege the picturesque.

Aparna Sharma

Stefano Odorico

Francesco Casetti

Alice Autelitano

Benjamin Noys

Evan William Cameron

Natacha Aubert

Gwendolyn Waltz

Rick Altman

Rudmer Canjels