Pastoral polarization

 

 

Propaganda is communication that is primarily used to influence or persuade an audience to further an agenda, which may not be objective and may be selectively presenting facts to encourage a particular synthesis or perception, or using loaded language to produce an emotional rather than a rational response to the information that is being presented. Propaganda can be found in a wide variety of different contexts.

In the 20th century, the English term propaganda was often associated with a manipulative approach, but historically, propaganda has been a neutral descriptive term of any material that promotes certain opinions or ideologies. 

A wide range of materials and media are used for conveying propaganda messages,  

More recently, the digital age has given rise to new ways of disseminating propaganda, for example, bots and algorithms are currently being used to create computational propaganda and fake or biased news and spread it on social media.

Het Twiske

 

 

In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The rule states that the camera should be kept on one side of an imaginary axis between two characters, so that the first character is always frame right of the second character. Moving the camera over the axis is called jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round.

3D Kingsize

 

 

 A sketch is mainly descriptive, either of places (travel sketch) or of people (character sketch). A sketch story is a hybrid form. It may contain little or no plot, instead describing impressions of people or places, and is often informal in tone. In the nineteenth century, sketch stories were frequently published in magazines, before falling out of favor.Such stories may focus on individual moments, leaving the reader to imagine for themselves the events that led to this occasion and to wonder what events will follow. In modern usage, the term "short story" embraces what was once popularly termed "the sketch". Short stories of extreme brevity still exist under the names flash fiction or microfiction 

 

11/11 event

 

 

Happenings are difficult to describe, in part because each one is unique. One definition comes from Wardrip-Fruin and Montfort in The New Media Reader, "The term 'happening' has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction."

Weave: beautiful motions

 

 

There are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, producers, film editors or actors. Other film directors have attended film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Other directors edit or appear in their films or compose music score for their films. 

Head-and-Heals on the warf

 

 

 A cold open (also called a teaser sequence) is a narrative technique used in television and films. It is the practice of jumping directly into a story at the beginning of the show before the title sequence or opening credits are shown. In North American television, this is often done on the theory that involving the audience in the plot as soon as possible will reduce the likelihood of their switching from a show during the opening commercial. A cold open may also be used to recap events in previous episodes or storylines that will be revisited during the current episode. The cold open technique is sometimes used in films. There, "cold opening" still refers to the opening moments or scenes, but not necessarily to the full duration before the title card, as the title card might appear well after the start. 

 

More rebellion

 

 

A docudrama, in which historical fidelity is the keynote, is generally distinguished from a film merely "based on true events", a term which implies a greater degree of dramatic license, and from the concepts of historical drama, a broader category which may also incorporate entirely fictionalized events intermixed with factual ones, and historical fiction, stories generally featuring fictional characters and plots taking place in historical settings or against the backdrop of historical events. 

 

 

Rebels against J.P. Coen

 

 

The Bandanese trade with the English, Portuguese and Dutch. The VOC tried, without success, to gain a monopoly on the nutmeg trade. The Bandanese do not allow themselves to be dictated to by the law. The VOC decided unilaterally to build a fortress there in 1609. The Bandanese then kill some Dutch people. The beginning of a period full of war. Governor-General Jan Pieterszoon Coen (the highest man of the company in the East Indies) organized a punitive expedition to Banda in 1621. In this way he wants to gain a monopoly on the trade in nutmeg and mace for the VOC. Of the 15,000 residents, only 1,000 remain. The rest were killed, fled or were taken into slavery to Batavia. All to secure the company's monopoly on nutmeg.

Trans shipment museum piece

 

 

Telling a story In a dramatic motion picture, the story is told by many people. The cinematographer tells the story with the camera. The lighting person tells the story with lighting. The film composer tells the story with music. The actors tell the story with action and dialog. The editor tells the story with editing. The sound designer tells the story with sound.

 

 

 

Modern art understanding

 

 

The word art derives from the Latin "ars" (stem art-), which, although literally defined means "skill method" or "technique", also conveys a connotation of beauty. During the Middle Ages the word artist already existed in some countries such as Italy, but the meaning was something resembling craftsman, while the word artisan was still unknown. An artist was someone able to do a work better than others, so the skilled excellency was underlined, rather than the activity field. In this period, some "artisanal" products (such as textiles) were much more precious and expensive than paintings or sculptures. The first division into major and minor arts dates back at least to the works of Leon Battista Alberti (1404–1472): De re aedificatoria, De statua, De pictura, which focused on the importance of the intellectual skills of the artist rather than the manual skills (even if in other forms of art there was a project behind). With the academies in Europe (second half of 16th century) the gap between fine and applied arts was definitely set. Many contemporary definitions of "artist" and "art" are highly contingent on culture, resisting aesthetic prescription, in much the same way that the features constituting beauty and the beautiful cannot be standardized easily without moving into kitsch. 

 

16 mm film and TV

 

 

The term ENG was created as television news departments moved from film-based news gathering to electronic field production technology in the 1970s. Since film requires chemical processing before it can be viewed and edited, it generally took at least an hour from the time the film arrived back at the television station or network news department until it was ready to be broadcast.[2] Film editing was done by hand on what was known as "color reversal" film, usually Kodak Ektachrome, meaning there were no negatives. Color reversal film had replaced black-and-white film as television itself evolved from black-and-white to color broadcasting. Filmo cameras were most commonly used for silent filming, while Auricon cameras were used for filming with synchronized sound. Since editing required cutting the film into segments and then splicing them together, a common problem was film breaking during the newscast. News stories were often transferred to bulky 2-inch videotape for distribution and playback, which made the content cumbersome to access. Film remained important in daily news operations until the late 1960s, when news outlets adopted portable professional video cameras, portable recorders, wireless microphones and joined those with various microwave- and satellite truck-linked delivery systems. By the mid-1980s, film had all but disappeared from use in television journalism.

Bad trip

 

Horror films have existed for more than a century. Early inspirations from before the development of film include folklore, religious beliefs and superstitions of different cultures, and the Gothic and horror literature of authors such as Edgar Allan Poe, Bram Stoker, and Mary Shelley. From origins in silent films and German Expressionism, horror only became a codified genre after the release of Dracula (1931). Many sub-genres emerged in subsequent decades, including body horror, comedy horror, slasher films, supernatural horror and psychological horror. The genre has been produced worldwide, varying in content and style between regions. Horror is particularly prominent in the cinema of Japan, Korea, Italy and Thailand, among other countries. Despite being the subject of social and legal controversy due to their subject matter, some horror films and franchises have seen major commercial success, influenced society and spawned several popular culture icons. 

 

Dutch fishery

 

 

Videography is the process of capturing moving images on electronic media (e.g., videotape, direct to disk recording, or solid state storage) and even streaming media. The term includes methods of video production and post-production. It used to be considered the video equivalent of cinematography (moving images recorded on film stock), but the advent of digital video recording in the late 20th century blurred the distinction between the two, as in both methods the intermediary mechanism became the same. Nowadays, any video work could be called videography, whereas commercial motion picture production would be called cinematography. 

 

Colonial history

 

 

Colonialism has existed since ancient times. In the modern period, the concept is most strongly associated with the European and Japanese empires, starting in the 15th century and extending to the mid-1900s. At first, conquest followed policies of mercantilism, aiming to strengthen the home-country economy, so agreements usually restricted the colony to trading only with the metropole (mother country). The impacts of colonisation are immense and pervasive Various effects, both immediate and protracted, include the spread of virulent diseases, unequal social relations, detribalization, exploitation, enslavement, medical advances, the creation of new institutions, abolitionism, improved infrastructure, and technological progress. Colonial practices also spur the spread of conquerers' languages, literature and cultural institutions, while endangering or obliterating those of native peoples. The native cultures of the colonised peoples can also have a powerful influence on the imperial country.

 

Slavery commemoration

 

Martial arts films are a subgenre of action films that feature martial arts combat between characters. These combats are usually the films' primary appeal and entertainment value, and often are a method of storytelling and character expression and development. Martial arts are frequently featured in training scenes and other sequences in addition to fights. Martial arts films commonly include hand-to-hand combat along with other types of action, such as stuntwork, chases, and gunfights.[1][2][3] Sub-genres of martial arts films include kung fu films, wuxia, karate films, and martial arts action comedy films, while related genres include gun fu, jidaigeki and samurai films. 

 

 

 

Broek in Waterland

 

 

A point of view shot (also known as POV shot, first-person shot or subjective camera) is a film scene—usually a short one—that is shot as if through the eyes of a character (the subject). The camera shows what the subject's eyes would see. It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character's reaction (see shot reverse shot). The POV technique is one of the foundations of film editing.

Dageraad architecture

 

Museum De Dageraad Behind the wave-shaped facade of the famous working-class housing complex De Dageraad, you will find information about the art and architecture of the Amsterdam School. At the beginning of the last century, H.P. Berlage designed the now famous Plan Zuid. He introduced a new way of urban planning, in which there was room for wide streets, atmospheric squares and green parks. The characteristic architecture of the many Amsterdam School artists still adorns the street plan. The expressionistic facades and beautiful ornaments are recognizable throughout the neighborhood.

Residential complex De Dageraad is the Amsterdam School in its purest form. Architects Michel de Klerk and Piet Kramer were commissioned to design all facets of the streetscape. 

 

Edam village

 

 

A basic film editing guideline that states the camera should move at least 30 degrees relative to the subject between successive shots of the same subject. If the camera moves less than 30 degrees, the transition between shots may look like a jump cut, which could jar the audience and take them out of the story by causing them to focus on the film technique rather than the narrative itself

 

Amstelveen

 

 

Bridging shot A shot used to cover a jump in time or place or other discontinuity. Examples are a clock face showing advancing time, falling calendar pages, railroad wheels, newspaper headlines and seasonal changes. Bridge shots are also used to avoid jump cuts when inserting a pick-up.

 

Mad Nest

 

 

Mad Nest is the second Parisian film by Tajiri. It is a collage-like film in which Tajiri uses different techniques and image material. A large part of the film consists of images that were created by drawing or scratching directly on the film material; these were techniques that were increasingly popular within the pre-war avant-garde.Tajiri contrasts these animation techniques with live action images: his own home movie-like recordings and found footage images. He also manipulates this footage, by colouring it, showing it in reverse or upside down, or by playing it backwards.