Experimental film, experimental cinema, or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
After some initial resistance, the impact of digital technology has transformed activities such as painting, literature, drawing, sculpture and music/sound art, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices. More generally the term digital artist is used to describe an artist who makes use of digital technologies in the production of art. In an expanded sense, "digital art" is contemporary art that uses the methods of mass production or digital media.
Choreography is the art or practice of designing sequences of movements of physical bodies (or their depictions) in which motion or form or both are specified. Choreography may also refer to the design itself. A choreographer is one who creates choreographies by practising the art of choreography, a process known as choreographing. It most commonly refers to dance choreography.
Wedding videography is a video production that documents a wedding on video. The final product of the videographer's documentation is commonly called a wedding video. It is also referred to as a wedding movie, or a wedding film. A videographer recording a wedding Wedding videography can trace its roots back to before the invention of the modern video camera through 8mm and 16mm films. When film was the only way to capture moving pictures, a few enterprising individuals would take the family 8mm camera and film the weddings of friends and family. These film cameras had a major limitation in the form of 4-minute load times. After exposing 4 minutes of film, the operator would have to load a new film cartridge. The high cost of processing and the fact the majority of them could not record sound to the film further limited the industry. However, there were still a few individuals who were able to turn the documentation of weddings into a business.
Filmmaking also takes place outside of the mainstream and is commonly called independent filmmaking. Since the introduction of DV technology, the means of production have become more democratized and economically viable. Filmmakers can conceivably shoot and edit a film, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, traditional distribution, and marketing remain difficult to accomplish outside the traditional system.
While bioenergy is generally agreed to mitigate greenhouse gas emissions on a global scale, environmental activists argue that increased biomass demand can create significant social and environmental pressure in the locations where the biomass is produced. The impact is primarily related to the low surface power density of biomass. The low surface power density has the effect that much larger land areas are needed in order to produce the same amount of energy, compared to for instance fossil fuels. Feasibility assessments to replace coal in German power plants with bush biomass harvested in Namibia, which experiences bush encroachment on over 30 million hectares, have caused protests from environmental organisations. The organisations argue that the trees and bushes store carbon, and that burning them releases more CO2 upfront than burning coal.
A drive-in movie theater is an outdoor parking area with a screen—sometimes an inflatable screen—at one end and a projection booth at the other. Moviegoers drive into the parking spaces which are sometimes sloped upwards at the front to give a more direct view of the movie screen. Movies are usually viewed through the car windscreen (windshield) although some people prefer to sit on the bonnet (hood) of the car. Some may also sit in the trunk (back) of their car if space permits. Sound is either provided through portable loudspeakers located by each parking space, or is broadcast on an FM radio frequency, to be played through the car's stereo system. Because of their outdoor nature, drive-ins usually only operate seasonally, and after sunset. Drive-in movie theaters are mainly found in the United States,[citation needed] where they were especially popular in the 1950s and 1960s.
A showreel (also known as a demo reel or sizzle reel) is a short video showcasing a person's previous work used by many kinds of people involved in filmmaking and other media, including actors, animators, lighting designers, editors, and models. Usually 2 to 3 minutes in length and consisting of footage from different projects, a showreel typically supplements a résumé and is used to promote the person to talent agents, producers, and casting directors.A voice actor may create an audio-only showreel, referred to as a voice reel, for the same purpose.
Artist Vrellis was inspired by the movement of the clouds that Van Gogh tried to capture in the well-known work. The Greek made an interactive version of the painting using openFrameworks – an open source package that can be used to design creative applications for computers and mobile phones. Users can make the clouds move in the animation itself and also affect the sound used in the animation.
With the spread of global high-speed internet, video clips have become very popular online. By mid-2006 there were tens of millions of video clips available online, with new websites springing up focusing entirely on offering free video clips to users and many established and corporate sites adding the use of video clipping content to their websites. Whereas most of this content is non-exclusive and available on competing sites, some companies produce all their own videos and do not need to rely on the work of outside companies or amateurs
(according to the internet the producer of the life film below is anton withagen and thats me!)
Narrative film, fictional film or fiction film is a motion picture that tells a fictional or fictionalized story, event or narrative. Commercial narrative films with running times of over an hour are often referred to as feature films, or feature-length films. The earliest narrative films, around the turn of the 20th century, were essentially filmed stage plays and for the first three or four decades these commercial productions drew heavily upon the centuries-old theatrical tradition. In this style of film, believable narratives and characters help convince the audience that the unfolding fiction is real.
Lighting and camera movement, among other cinematic elements, have become increasingly important in these films. Great detail goes into the screenplays of narratives, as these films rarely deviate from the predetermined behaviours and lines of the classical style of screenplay writing to maintain a sense of realism. Actors must deliver dialogue and action in a believable way, so as to persuade the audience that the film is real life.
Film posters have been used since the earliest public exhibitions of film. They began as outside placards listing the programme of (short) films to be shown inside the hall or movie theater. By the early 1900s, they began to feature illustrations of a film scene or an array of overlaid images from several scenes. Other posters have used artistic interpretations of a scene or even the theme of the film, represented in a wide variety of artistic styles. Film posters have become increasingly coveted by art collectors in recent years due to their known relative rarity, condition, artist, and art historical significance.
There is a law of natural cutting and that this replicates what an audience in a legitimate theater does for itself. The more nearly the film cutter approaches this law of natural interest, the more invisible will be his cutting. If the camera moves from one person to another at the exact moment that one in the legitimate theatre would have turned his head, one will not be conscious of a cut. If the camera misses by a quarter of a second, one will get a jolt. There is one other requirement: the two shots must be approximate of the same tone value. If one cuts from black to white, it is jarring. At any given moment, the camera must point at the exact spot the audience wishes to look at. To find that spot is absurdly easy: one has only to remember where one was looking at the time the scene was made.
Film colorization or colourization is any process that adds color to black-and-white, sepia, or other monochrome moving-picture images. It may be done as a special effect, to "modernize" black-and-white films, or to restore color films. The first examples date from the early 20th century, but colorization has become common with the advent of digital image processing.
The term "silent film" is something of a misnomer, as these films were almost always accompanied by live sounds. During the silent era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or even, in large cities, a small orchestra—would often play music to accompany the films. Pianists and organists would play either from sheet music, or improvisation
Filmmaking is both an art and an industry. That is why they call it "show business". It's a show and a business. Films were originally recorded onto nitrate film stock which was highly flammable. After the late 1950s, plastic film was used which was shown through a movie projector onto a large screen (in other words, an analog recording process). The adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the entire process of production, distribution, and exhibition from start to finish.
Cinematography can not only depict a moving subject but can use a camera, which represents the audience's viewpoint or perspective, that moves during the course of filming. This movement plays a considerable role in the emotional language of film images and the audience's emotional reaction to the action. Techniques range from the most basic movements of panning (horizontal shift in viewpoint from a fixed position; like turning your head side-to-side) and tilting (vertical shift in viewpoint from a fixed position; like tipping your head back to look at the sky or down to look at the ground) to dollying (placing the camera on a moving platform to move it closer or farther from the subject), tracking (placing the camera on a moving platform to move it to the left or right), craning (moving the camera in a vertical position; being able to lift it off the ground as well as swing it side-to-side from a fixed base position), and combinations of the above. Early cinematographers often faced problems that were not common to other graphic artists because of the element of motion
The Institut Lumière is a French organisation, based in Lyon, for the promotion and preservation of aspects of French film making. The Institut Lumière is a museum that honours the contribution to filmmaking by Auguste and Louis Lumière - inventors of the cinématographe and fathers of the cinema. It was founded in 1982 by Bernard Chardère and Maurice Trarieux-Lumière, the grandson of Louis Lumière.[1] Bertrand Tavernier was its president and Thierry Frémaux is its director. The museum is located within the house of the Lumière family, in the Monplaisir quarter of Lyon. The film La Sortie de l'usine Lumière à Lyon, one of the earliest motion pictures ever made, was shot in the immediate vicinity of the Institut.
Location shooting is the shooting of a film or television production in a real-world setting rather than a sound stage or backlot. The location may be interior or exterior. The filming location may be the same in which the story is set (for example, scenes in the film The Interpreter were set and shot inside the United Nations building), or it may stand in for a different locale (the films Amadeus and The Illusionist were primarily set in Vienna, but were filmed in Prague). Most films feature a combination of location and studio shoots; often, interior scenes will be shot on a soundstage while exterior scenes will be shot on location. Second unit photography is not generally considered a location shoot. Before filming, the locations are generally surveyed in pre-production, a process known as location scouting and recce.
In cinema, a making-of, also known as behind-the-scenes, the set or on the set is a documentary film that features the production of a film or television program. This is often referred to as the EPK (electronic press kit) video, due to its main usage as a promotional tool, either concurrent with theatrical release or as a bonus feature for the film's DVD or Blu-ray release.
The Namibian desert town Oranjemund was until recently run by the Namdeb Diamond Corporation. Only employees were allowed to live there and Namdeb provided housing, free water and electricity. Now that Namdeb is about to close its mines and leave town altogether, the people of Oranjemund are left with uncertainty. Many are planning to depart. Desert Paradise is a nicely flowing documentary, which lets the inhabitants tell the stories of their town in conversation amongst themselves. Like supermarket manager Tate, grilling food on the barbecue and telling his daughter and grandson about his early days in Oranjemund. Or the three young women sitting beneath a tree who realize their days of luxury might not be as obvious anymore. Everyone remains optimistic, but also critical of the faceless diamond corporation, not taking responsibility for a town whose resources it drained for decades.
Lighting or illumination is the deliberate use of light to achieve practical or aesthetic effects. Lighting includes the use of both artificial light sources like lamps and light fixtures, as well as natural illumination by capturing daylight. Daylighting (using windows, skylights, or light shelves) is sometimes used as the main source of light during daytime in buildings. This can save energy in place of using artificial lighting, which represents a major component of energy consumption in buildings. Proper lighting can enhance task performance, improve the appearance of an area, or have positive psychological effects on occupants. Indoor lighting is usually accomplished using light fixtures, and is a key part of interior design. Lighting can also be an intrinsic component of landscape projects.
Cutting on action or matching on action refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action. A common example is a man walking up to a door and reaching for the knob. Just as his hand touches the knob, the scene cuts to a shot of the door opening from the other side.
Political cinema, in the narrow sense of the term, is films that portray current or historical events or social conditions through a partisan perspective in order to inform or to agitate the spectator. Political cinema exists in different forms, such as documentaries, short films, feature films, experimental films, and even animated cartoons. n order to differentiate between the narrow and broad notions of 'political cinema', film scholar Ewa Mazierska suggested to divide all such films into the categories of conformist or oppositional and marked or unmarked: • Conformist films "accept the political status quo;" while oppositional films reject it. • Marked political films are willing to reveal to their viewers the party/ideology "they serve"; while unmarked films prefer to hide it. From this point of view, it is the oppositional and marked political films that the most viewers regard as 'political', as discussions about politics in film typically single out these two categories.
In the early 1960s Yugoslavia produced more films than ever before. Exports soared during this period of intense creativity and experimentation. The film makers were linked by a common wish to increase the freedom of artistic expression, and to reform the cinematic language. The filmmakers wanted the right to show the darker side of the human psyche and to openly criticize the policy of the socialist state. This stream gained international attention as well as provoking strong controversies within Yugoslavia. The liberalization of the film form and expression reached its apex in 1967– 1968. In the following years, the counter-offensive against the new movement intensified. Black films were attacked for their pessimistic view on the Yugoslav socialist development and liberalism in general, as well as their valorization of anarchistic and individualistic tendencies in the society. The attacks on the movement can be seen as a natural result of the broader political developments at the time. Eventually it led to the banning of selected films and some directors were forced to leave the country.
Welcome to Oceanogràfic València, the largest aquarium in Europe. Located in the avant-garde architectural complex of the City of Arts and Sciences in Valencia, the aquarium is a true tribute to the seas and oceans of the planet and contains large aquariums which faithfully reproduce the most important marine ecosystems.
A home movie is a short amateur film or video typically made just to preserve a visual record of family activities, a vacation, or a special event, and intended for viewing at home by family and friends. Originally, home movies were made on photographic film in formats that usually limited the movie-maker to about three minutes per roll of costly camera film. The vast majority of amateur film formats lacked audio, shooting silent film.
HOW TO WORK WITH LIMITED FOOTAGE What happens when you have very little footage? Maybe you have just one shot of graphic violence but no context. Think about these options: a) Borrow footage – from colleagues or from footage with Creative Commons licenses b) Film an interview to explain it c) Use title-cards to tell your viewer more. And remember that on some websites you can place contex- tual information around your video.
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