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Which clippings match 'Video Essay' keyword pg.1 of 1
06 MARCH 2012

CINEMA ESSAY: SHALLOW FOCUS, DEEP FOCUS, TRACKING SHOT, ESTABLISHING SHOT

Majestic Micro Movies: Lloyd Fonvielle, James Lester, Kendra Elliot, Joe Griffin and Jae Song.

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a girl and a gunAndre Bazin • big depth of field • black and whitecameracinemacinematic conventionscinematic languagecinematic visual languagecinematographyclapperboardcoherent spacecompositioncontinuity editingdeep focusdepth of fielddepth of the screen spacedesign formalismDOF • establishing shot • figures in spacefilmfilm language • film take • film technique • filmlook • filmmaking • focus of attention • Manny Farber • master shot • medium is the messagemise-en-scenenarrative scenesproductionscenescreen spaceselective focusshallow depth of fieldshallow focus • shot countershot • shot reverse shottracking cameratracking shot • two shot • video essayvisual depictionvisual languagevisual literacyvisual style • wide lens

CONTRIBUTOR

Simon Perkins
08 JANUARY 2012

Does electronic literature have a future?

"Does electronic literature have a future? Is Google the end of the World? What is the role of digital poetics in global politics? These issues and more are discussed with J. R. Carpenter, John Cayley, Maria Mencia, Scott Rettberg, Alexandra Saemmer, Roberto Simanowski, and Jaka Železnikar."

A video–essay by Talan Memmott and David Prater, September 2011 at the ELMCIP Electronic Literature and New Media Art Seminar in Ljubljana Slovenia.

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2011 • Alexandra Saemmer • Blekinge Institute of Technology • bookcollaborative research projectconvergencecreative researchcreativity and innovationdigital culture • digital poetics • distributed communication environment • Edinburgh College of Art • electronic literature • Electronic Literature and New Media • electronic literature community • ELMCIP • Facebookglobal politicsglobalisationGoogle Inc • HERA • Humanities in the European Research Area • innovation in practice • J. R. Carpenter • Jaka Zeleznikar • John Cayley • JRPliterature • Maria Mencia • network-based creative community • networked creativity • New Media Scotland • publishingreadingreading experienceresearch and practice • Roberto Simanowski • Scott Rettberg • Sloveniatactile experience • Talan Memmott • the future of the booktranscultural • transnational • University College Falmouth • University of Amsterdam • University of Bergen • University of Jyvaskyla • University of Ljubljana • video essay

CONTRIBUTOR

Simon Perkins
01 NOVEMBER 2009

Charles Leadbeater: We Think

Read 'We Think' Research Reports covering: Web 2.0 Overview; Web 2.0; Wikipedia; Linux; Brazil and Open Source; World of Warcraft; Encyclopaedia of Life; Human Genome; M–Pesa; Ubuntu.

This video combines illustrations created by Debbie Powell, which were animated to music by Amiable Fellow by Tim Cowie.

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20082D • Amiable Fellow • animated presentationanimationappropriationauthorshipBrazilCharles Leadbeaterconstellationscritical theory • Debbie Powell • democracydialogic • Encyclopaedia of Life • human genome projectinstructional designintegrationknowledgelearningLinux • M-Pesa • mass democratisationopen sourceownershipparticipationpedagogyrelationremix culturescriptibletheory building • Think We • Tim Cowie • Ubuntu • video essayWeb 2.0Wikipedia • World of Warcraft

CONTRIBUTOR

Simon Perkins
20 MARCH 2006

Chris Marker's image-inventory: thesaurus rather than taxonomy

"[Chris] Marker's production of an inventory for his filmic archive through gathering – shooting, finding existing footage, and editing – is enabled by this double power of the image. On one hand, the image–inventory simply lists images as instances of a collection, allowing each to resonate on its own, evoking its own possible meaning, descriptions, feelings, and thoughts and on the other, the shared qualitative aspect that links the images creates a pictorial inventory or catalogue of the growing filmic archive. The particularity of this catalogue is noteworthy. In linking images or collection–items by shared qualitative criteria, rather than by qualitative measures, this inventory constitutes a thesaurus of the collection rather than a taxonomy or classification. For, whereas the former loosely groups instances conceptually (words/images sharing a concept), the latter tightly organises the archive nomologically (according to a law: alphabetically, chronologically, etc.). This difference is crucial: classification is linear, laying out flat the vast heterology that is the archive, taming difference through a system that is based on sameness – items or terms belonging to the same latter of the alphabet, originating in the same year, being related to the same place etc. – imposing order through a movement from the many to the one. The inventory–building of the thesaurus, on the other hand, is rhizomorphous, starting from similarities and affinities and proceeding three–dimensionally from the one to the many, from similarity to difference. The shared quality or concept, the broader term of the thesaurus, moves through analogical bifurcations and creates a network of related, narrower terms, and arborescence of possible meanings without a classificatory claim on, or hope for precision, certainty and unique locatability. As such, the thesaurus enables a radically different kind of access to the archive from that gained through classification. Classification privileges individual items of a collection through a structure which allows their precise tracking while the thesaurus creates a conceptual archive from the archive that highlights the connections between items."

(Uriel Orlow, 2002)

2). Orlow, Uriel (2002) 'Chris Marker: The Archival Powers of the Image'. In: Comay, Rebecca and Knechtel, John, (eds.) Alphabet city #8: lost in the archives. Alphabet City Media Inc., Toronto, Canada, pp. 436–451. ISBN 0887846432

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affinity • arborescence • archivecatalogueChris Markerclassificationcollectionconceptual archivedifferencedigressive approachephemera • heterology • inventory • loose classification • multi-media collagistnetworknomologicalorderingpictorial inventoryrhizomerhizomorphousSans Soleil (1983)similaritytaxonomythesaurus • Uriel Orlow • video essayvideo synthesizervisual essay

CONTRIBUTOR

Simon Perkins
08 OCTOBER 2003

Sans Soleil: Nomadism

"He wrote me: I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten. How can one remember thirst? I've spent the day in front of my TV set – that memory box. I was in Nara with the sacred deers. I was taking a picture without knowing that in the 15th century Basho had written: "The willow sees the heron's image... upside down."
(Chris Marker, 1983)

[In Chris Marker's seminal essay–documentary Sans Soleil (1983), he describes a fractured physical environment that is unified through it occupation of the film's protagonist. Although the protagonist is described as inhabiting its environments he never appears to belong to any of them. His is a traveller, lost in the non–place (and non–history) of transit.]

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1983 • Cape Verde • Chris Markerethnographic filmfilmfilm essay • forgetting • Icelandmemory • memory box • nomadnomadismremembering • rewrite memory • Sans Soleil (1983) • Sunless • video essayvisual essay
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