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Which clippings match '1958' keyword pg.1 of 2
24 JUNE 2013

Ion Popescu-Gopo: 7 Arte/7 Arts and Sport (1958)

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19582D animation • 7 Arte • 7 Arts and Sport • animated short filmCannes Film Festivalcave paintingsgraphic artist • happy accident • imitationIon Popescu-GopomaskmythopoeticPalme dOrsporttheatrical expression

CONTRIBUTOR

Valeria Marti
23 OCTOBER 2012

Explore Nottingham through the Sillitoe Mobile Trail iPhone 5 App

"The Alan Sillitoe Memorial Committee are launching a Mobile Trail App and Handbook–(a book with a digital heart) at Nottingham Contemporary on Saturday 27th October [2012]. ...

The mobile trail features the work of leading contemporary writers revisiting the themes and spaces of Sillitoe's Nottingham and is the culmination of our work with The Space – the experimental digital arts platform commissioned by Arts Council England in association with the BBC."

(2012 Sillitoe Trail)

Fig.1 "Sillitoe Trail Nottingham: Al Needham – Life through 21 Pubs", Published on 13 Jul 2012 by thinkamigo.

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19582012 • Al Needham • Alan Sillitoe • Ann Featherstone • appArts Council Englandaudible informationaudioaudio guideaudio storiesBBC • Billy Ivory • British Pub • contemporary writers • David Sillitoe • Derrick Buttress • digital arts • experimental digital arts platform • Frank Abbott • Goose Fair • iPhone • iPhone 5 • iPhone app • James Walker • kitchen sink realism • LeftLion Magazine • locations • Michael Eaton • mobile trail • mobile trail app • navigate • Neil Fulwood • NottinghamNottingham Contemporary • Old Market Square • Paul Fillingham • Pete Davis • pub • Raleigh Bicycle Company • Raleigh factory • River Trent • Saturday Night and Sunday Morning • Sillitoe Trail • spaceThe Space (service) • The White Horse • Thinkamigo • UKvirtual heritagevirtual tourwayfinding

CONTRIBUTOR

Simon Perkins
23 JANUARY 2011

Choreocinema: The Very Eye Of Night

"A Study in Choreography for the Camera is the film in which [Maya] Deren achieved an epistemological break from dance films that only 'recorded' movement. The new form was called 'choreocinema'. This form was a unique contribution to the advancement of experimental and ethnographic film. In fact, Deren called Ritual and Transfigured Time and The Very Eye of Night 'choreographies for camera'."

(Moira Sullivan, 2007, Danscamdanse: Dancefilm International Festival Belgium)

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CONTRIBUTOR

Simon Perkins
24 JANUARY 2010

John Whitney: Motion Graphics Pioneer

"John Whitney, Sr. was one of the earliest and most influential of the computer animation pioneers. He came at the problem from the background of film, working with his brother James Whitney on a series of experimental films in the 1940s and 1950s. His work in this area gave him the opportunity to collaborate with well known Hollywood filmmakers, including Saul Bass.

His earliest computer work used analog devices for controlling images and cameras. After the second world war, Whitney purchased surplus military equipment and modified it to be used in his art making. One such device was an analog mechanism used in military anti–aircraft controllers, the M–5 (and later the M–7). Whitney and his brother converted this device of war into an animation controller, and used it together with a mounted camera as an animation stand. ...

After establishing his company Motion Graphics, Inc in 1960, he used his analog devices for the opening to the Hitchcock movie Vertigo in 1961. His company was focused on producing titles for film and television, and was also used in graphics for commercials. But Whitney was far more interested in the use of the technology as an art form, and began a series of collaborations in art making that has lasted for years. Many of these early collaborations revolved around the advancement of the vector graphics device as a viable tool for making art. Whitney received funding from IBM to take a look at the use of IBM equipment in the design of motion. He worked with IBM programmers in the development of a language for extending the computer to the control of graphics devices. This resulted in one of his most famous animations, Permutations in 1968."

(Wayne Carlson)

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19581968abstract graphic animationAlfred Hitchcockanalogue computeranimation • animation controller • Bernard Herrmanncompositioncomputer animationcustom typeface • digital harmony • IBMinnovatorJames WhitneyJohn Whitney • M-5 • M-7 • mechanical computermotion graphics • Motion Graphics Incorporated • Permutations • pioneerpioneering animatorSan FranciscoSaul Basstitle sequence • UPA studios • Vertigo (1958)visualisation

CONTRIBUTOR

Simon Perkins
28 JUNE 2009

Die entfesselte Kamera

"Eine Zusammenstellung der besten und berühmtesten langen Kamerafahrten muss natürlich mit Murnau beginnen. Hier das Treffen des Mannes mit seiner Geliebten in Sunrise (1927) [1] Der Banküberfall in Gun Crazy (Joseph H. Lewis, 1950), in einer einzigen Einstellung aus dem Auto gefilmt [2] Die Kamera aus der Ich–Perspektive ... Madame de ... (Max Ophuls, 1953) – nach dem Vorspann ab Minute 1:50 [3] Touch of Evil von Orson Welles (1958), mit der wohl so ziemlich berühmtesten Kamerafahrt [4] Godard ('Eine Kamerafahrt ist eine Frage der Moral.') und sein Weekend (1967) [5] Antonionis Beruf: Reporter (1975) [6] In den letzten zehn bis zwanzig Jahren werden extrem lange Kamerafahrten immer häufiger. Zum einen aufgrund der besseren technischen Möglichkeiten (die Steadycam gibt es seit Mitte der 70er Jahre, Antonioni musste für seine bahnbrechenden Aufnahmen in Beruf: Reporter noch komplizierte Konstruktionen zu Hilfe nehmen) – und zum anderen als Gegenentwicklung, als Ruhepol zu der immer höher werdenden Schnittfrequenz, die mit dem Musikclipsender MTV begann und jüngst mit den Batman– und Jason–Bourne–Filmen einen Höhepunkt erreicht hat. In Martin Scorseses Goodfellas (1990) folgt die Kamera Henry, wie er mit seiner Freundin über den Hintereingang einen Club betritt. Dabei wird unnachahmlich illustriert, welch privilegierte Stellung er genießt [7] Aus Murnaus entfesselter Kamera war zu diesem Zeitpunkt schon ein so beliebtes Stilmittel geworden, dass es Zeit für etwas Ironie wurde. Das zeigt die Anfangssequenz in Robert Altmans The Player (1992), in der sich zwei Darsteller über die besten tracking shots der Filmgeschichte unterhalten [8] Einige besonders kreative Höhepunkte sind seit den 90er Jahren im Genre des Hongkong–Thrillers zu finden. So in John Woos Hard Boiled (1992) [9] Die ersten sieben Minuten von Breaking News (2004) von Johnnie To [10] Ziemlich eindrucksvoll ist auch diese Szene aus The Protector von Prachya Pinkaew (2005) [11] Höhepunkt und Abgesang? In Joe Wrights Atonement von 2007 gerät die knapp fünfminütige Sequenz mit den Landungstruppen am Strand zu einem fast schon aufdringlichen Muskelspiel (ab 0:47) [12] Weitere Beispiele?"
(Thorsten Funke, 20. Juni 2009)

Films famous for their use of single continuous shots:
Sunrise (Friedrich Wilhelm Murnau, 1927); Gun Crazy (Joseph H. Lewis, 1950); Madame de ... (Max Ophuls, 1953); Touch of Evil (Orson Welles, 1958); Weekend (Jean Luc Godard, 1967); Beruf: Reporter (Michelangelo Antonioni, 1975); Goodfellas (Martin Scorseses, 1990); The Player (Robert Altman, 1992); Hard Boiled (John Woo, 1992); Breaking News (Johnnie To Kei–Fung, 2004); The Protector (Prachya Pinkaew, 2005); Atonement (Joe Wright, 2007).

TAGS

19271950195319581967197519901992200420052007 • Atonement • Beruf Reporter • Breaking News (2004) • cinemadesign • F. W. Murnau • film • Friedrich Wilhelm Murnau • Goodfellas • Gun Crazy • Hard Boiled • Jean-Luc Godard • Joe Wright • John Woos • listMartin ScorseseMichelangelo AntonionionesingleshotOrson Welles • Prachya Pinkaew • Robert Altmansingle shotsteadicam • Sunrise • The Player • The Protector • Touch of Evil • tracking shotvisual languagevisual literacyvisualisationWeekend

CONTRIBUTOR

Simon Perkins
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