Mach eine 2 minütige Videomontage (mit Ton und Bild)

Dies könnte entweder sein:

1) Eine Montage in der Kamera (z.B. durch das Durchblättern einer Zeitschrift, das Ein- und Ausschalten von Musik in einem Raum, das Hin- und Herfilmen zwischen einem Bildschirm und etwas im Raum)

2) Eine Montage, die in einem Schnittprogramm (Imovie, Quicktime, Premiere, Final Cut usw.)
- indem der Ton mit einem anderen Ton ersetzt wird
oder
-durch das Zusammenschneiden einer Reihe von kürzeren Clips
oder
- durch Überlagerung zweier Clips
oder
- durch die Kombination von zwei Tönen übereinander.

...oder wenn ihr andere Ideen habt.

Deadline 4. Februar.

Bitte nutzt die Zeit am 21. und 18. Januar, für die Aufgabe und um die Filme hier auf der Seite anzusehen.
.......................

Assignment: 

Make a 2 min long Video-Montage (with sound and image)

It could be either: 

1) An in-camera montage (for example by flippling through a magazine, turing on and off music in a room, filming back and forht between a screen and something in the room)

2) A montage made in an editing program (imovie, Quicktime, Premiere, final cut..etc).
- by changing the sound to another sound
or
-by cutting together a series of shorter clips
or
- by interlacing two clips
or
- by combining two sounds on top of eachother.
or
...or if you get other ideas.

Deadline for your montages are 4 Feb.

Please use the time on 21 & 18 Jan for this and to watch the films here on the page >

Filmmontageaufgabe:

Strike ( Sergei Eisenstein, 1925)

Mark Leckey, Dream English Kid 1964 – 1999AD

my memoirs using found footage”

In 1979, Eric’s nightclub in Liverpool hosted a gig by Joy Division that Mark Leckey attended in his youth. Recently, the artist located amateur footage of the event on YouTube. Realising that many of the personal memories we have can be found online, Leckey began to assemble a film. 'Dream English Kid 1964 – 1999AD' uses archival material from television shows, advertisements and music, to recreate a record of all the significant events in his life from the 1970s until the 1990s. “I set out to make

Barbara Hammer's Optic Nerve, 1985, 16:43 min, color, sound, 16 mm film on video
""Barbara Hammer's Optic Nerve is a powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image. Hammer has lent a new voice to the long tradition of personal meditation in the avant-garde of the American independent cinema." -- John Hanhardt, Biennial Exhibition Catalogue, Whitney Museum of American Art, New York, 1987 -- EAI

Apichatpong Weerasethakul, Blue (2018)
HD video, 12 mins, 30 sec.
A woman lies awake at night. Nearby, a set of theatre backdrops unspools itself, unveiling two alternate landscapes. Upon the woman’s blue sheet, a flicker of light reflects and illuminates her realm of insomnia.

The Girl Chewing Gum is a twelve-minute 16 mm film made by British artist John Smith in 1976, when he was a postgraduate student at the Royal College of Art in London. Shot primarily in Dalston, close to the artist’s home, the film is at once a portrait of street life in East London and a wryly funny critique of the myth of documentary neutrality.

“John Smith’s Leading Light evolves a sense of screen depth and surface through the simple agency of light. The film is shot in a room over a period of a day and records the changes in light through the single window. The image is controlled through manipulation of aperture, of shutter release, of lens, but the effect is more casual than determined and the spectator is aware primarily of the determining nature of following sunlight.” Deke Dusinberre ‘Perspectives on British Avant-Garde Film’ catalogue 1977

” Leading Light uses the camera-eye to reveal the irregular beauty of a familiar space. When we inhabit a room we are only unevenly aware of the space held in it and the possible forms of vision which reside there. The camera-eye documents and returns our apprehension. Vertov imagined a ‘single room’ made up of a montage of many different rooms. Smith reverses this aspect of ‘creative geography’ by showing how many rooms the camera can create from just one.” A.L. Rees ‘Unpacking 7 Films’ programme notes, 1980

Trinh T. Minh-ha, Reassemblage (1983)
Duration: 10 minutes

Filmmaker, writer, poet, literary theorist, educator, musical composer, and (un/non)ethnographer, Trinh T. Minh-ha builds much of her work around the theme of the "other" (the persona one considers him/herself to be in relation to), challenging cultural theorists' traditional notions of the subject or/subjected duality. She performed three year's worth of ethnographic field research in West Africa the Research Expedition Program of the University of California, Berkeley. This fieldwork led in part to her first film, Reassemblage, which was filmed in Senegal and released in 1982.

Trinh's views on traditional ethnographic documentaries are hinted at in one of her voice-overs that occurs early in the film. She states: "I do not intend to speak about/Just speak near by." The film is a montage of fleeting images from Senegal and includes almost no narration, save for the occasional statements by Trinh, none of which attempt to assign meaning to the seconds-long scenes. Where one expects an omniscient, scientific voice to override the moving pictures in order to overlay a mapping schema of "meaning," there is sometimes music, sometimes no sound, sometimes Trinh assigning a reality or sign to the culture it hopes to "know" by viewing a movie, she refuses to make the film be "about" something, refuses to speak about the images, and denies the hopeful observer the opportunity to record, categorize, and save an("other") culture. The viewer is left with a sense of disorientation, in that no meaning was assigned to any of the images in the film, and yet the viewer's mind was constantly expecting such designations.

Work of Eye

Barbora Kleinhamplová & Zbyněk Baladrán
full HD video, 7:18, 2014

“Work of Eye” is inspired by a research of Jan Evangelista Purkyně, the 19th century experimental scientist, who dedicated his research to eyesight and its relation to experience and very essence of vertigo feelings brought about by rotating movements. His experiments using merry-go-round or see-saw served for therapeutical procedures. Under the category of vertigo he included illusions as well as fallacies. The vertigo theme is framed by an experience of corporate sector. The camera is rotating inside an open office, it evokes a sense of heaviness and confusion. Whispering voices that accompany the camera`s movement tell a story of bemused clerk who, frustrated and lost all alone with his feelings, wanders around the office.

The Flicker is a 1966 experimental film by Tony Conrad. The film consists of only 5 different frames: a warning frame, two title frames, a black frame, and a white frame. It changes the rate at which it switches between black and white frames to produce stroboscopic effects.

Conrad spent several months designing the film before shooting it in a matter of days. He produced and distributed The Flicker with the help of Jonas Mekas. The film is now recognized as a key work of structural filmmaking.

James Richards short interview

Eisenstein was among the earliest film theorists. He briefly attended the film school established by Lev Kuleshov and the two were both fascinated with the power of editing to generate meaning and elicit emotion. Their individual writings and films are the foundations upon which Soviet montage theory was built, but they differed markedly in their understanding of its fundamental principles. Eisenstein's articles and books—particularly Film Form and The Film Sense—explain the significance of montage in detail.

His writings and films have continued to have a major impact on subsequent filmmakers. Eisenstein believed that editing could be used for more than just expounding a scene or moment, through a "linkage" of related images—as Kuleshov maintained. Eisenstein felt the "collision" of shots could be used to manipulate the emotions of the audience and create film metaphors. He believed that an idea should be derived from the juxtaposition of two independent shots, bringing an element of collage into film. He developed what he called "methods of montage":

Grundlehre (MONTAGE):