AG Kurzfilm - Bundesverband Deutscher Kurzfilm’s Post

Here it is! I'm very happy and proud of this paper. It is now available online ! This master thesis explores the perception of climate activism in films and in the general debate. By focusing on scenes in which the spectator goes through an allegiance shift towards the character of the eco-villain, I highlight a link made between the cinematographic and the non cinematographic world. My aim is to analyze the relationship between the scenes of the chosen films and the non cinematographic environment. To do so, the thesis draws upon different films starring characters of eco-villains. Theoretically departing from Audre Lorde’s postulate that “the master’s tools will never dismantle the master’s house”, I analyze the structure of power using Michel Foucault and the categorization of good and bad. I analyze what the Eco-villain represents and why it is categorized as such according to Sara Ahmed’s theory. I explore how these scenes counter this structure of power by analyzing the emotion of “anger” and the space of the heterotopia. These different theories lead me to envisage the presence of Ecocriticism theory in the different scenes. An intermedial analysis of the different visuals is used to analyze the reception of these characters and the cultural impact of fiction films on the non cinematographic world (and vice versa) in order to conclude that a major representation of climate activism is a killjoy in mass media, but these representations are challenged, countered and criticized. I hope that you will enjoy reading it ! https://lnkd.in/eg9nFS_B

Welche Tools benötigt Ihr als Producer:innen um eure Filmprojekte zu organisieren? 🛠⁠ ⁠ Thomas berichtet uns im Interview, welche Tools für Ihn unabdingbar sind.⁠ ⁠ Ohne sein Smartphone und dementsprechend Emails und einer langen Kontaktliste geht für Ihn nichts. 📱 ⁠ ⁠ Zudem hat er immer auch gerne ein Notizbuch parat, um sich auch mal händisch bei Telefonaten oder wichtigen Orga-Themen etwas zu notieren. 📒⁠ ⁠ Neben diesen alltäglichen Dingen und Cinema Calc braucht es nicht viel mehr, damit er seine Filmprojekte organisieren und am Ende auch kalkulieren kann. ⁠ Du kalkulierst selbst Filmbudgets? Dann solltest du dir unbedingt unsere Kalkulationssoftware ansehen: www.cinemacalc.com . . . Werbung weil Nennung des eigenen Produktes #cinemacalc #film #movie #cinema #cinematography #filmcommunity #filmmaking #filmmaker #filmlife #cinematic #producerlife #filmemacher #filmemacherde #werbefilm #imagefilm #produktvideo #filmproduktion #filmteam #videoproduktion #producer #filmproducer #videoproducer #videocreator #videography #produktion #filmdreh #filmkosten #filmbudget

Closing conference: Moving In Every Direction  March 21/22, Lucerne School of Design, Film & Art Your Own Spaces is the closing conference of the Research Project Moving in Every Direction at the Lucerne University of Applied Sciences and Arts, funded by the Swiss National Science Foundation.    Artistic research usually does not yet prominently include the medium film as a practice and a set of methods in artistic research. Filmmaking has developed epistemological practices of its own, which do not align seamlessly with current notions of artistic research. Among these figure documentary and animated documentary with their truth claim, experimental films with their often media-specific questions and installative practices of filmmakers and artists, which update those questions in a spatial context. Especially in the context of documentary theory the discussions about the epistemological value of audiovisual representations of the «real» have been vivid in the last decades. The conference aims to introduce these discussions in the formation of practices linked to artistic research.    Your Own Spaces hosts eighteen researchers/filmmakers/artists who present their original, substantive and sometimes intuitive approaches to the epistemology of working with film. It provides space for discussions about the merits of multi-perspective representations of the real and opportunities for cognition through spatial settings. It will be accompanied by an exhibition of prototypes from the research group of Moving in Every Direction that represent research processes with moving images.    We invite interested scholars, artists, and filmmakers to the Lucerne School of Design, Film & Art to take part in this discussion. More information: blog.hslu.ch/mied 

Wieso eigentlich Cinema Calc? Warum kein anderes Kalkulationstool?⁠ ⁠ Im Interview erzählt uns Thomas, was ihn am meisten an Cinema Calc begeistert und warum er sich gegen anderen Software-Lösungen entschieden hat.⁠ ⁠ Ab einem gewissen Zeitpunkt hat es ihn einfach extrem gestört, dass er in selbstgebauten Excel-Tabellen "rumbasteln" musste. Andere Software-Lösungen bieten ihm noch dazu wenig Flexibilität.😒⁠ ⁠ Cinema Calc gibt ihm dagegen die Freiheit so zu kalkulieren, wie er möchte. Er muss sich um nichts weiters mehr Gedanken machen. Cinema Calc funktioniert einfach und zuverlässig. Mit einem Klick ein neues Filmprojekt anlegen, kalkulieren und dann das PDF an den Kunden schicken. Done. 😍⁠ Du kalkulierst selbst Filmbudgets? Dann solltest du dir unbedingt unsere Kalkulationssoftware ansehen: www.cinemacalc.com . . . Werbung weil Nennung des eigenen Produktes #cinemacalc #film #movie #cinema #cinematography #filmcommunity #filmmaking #filmmaker #filmlife #cinematic #producerlife #filmemacher #filmemacherde #werbefilm #imagefilm #produktvideo #filmproduktion #filmteam #videoproduktion #producer #filmproducer #videoproducer #videocreator #videography #produktion #filmdreh #filmkosten #filmbudget

I started my dream job on this date two years ago, keeping in mind what I proposed in my job interview and first public presentation: Five Goals for the First Five Years. Here's how it stands at the start of Year Three: 1)     Establishment of a curriculum for the Future of Cinema and the Audiovisual Arts. Six courses (three Bachelor, three Master)  have been introduced since 2022. The courses are offered at both the Lugano and Mendrisio campuses appealing to students at USI and the Accademia. A Masters specialization in Cinema and Audiovisual Futures was launched in 2023, as a means towards developing a full Masters program in the field. 2)    Secure a nationally funded research project on the Future of Cinema. SNSF three year research project (800,000 CHF) “The Video Essay: Memories, Ecologies, Bodies” (2024-2026). This project establishes the research focus of the chair: the video essay as a vivid example of the future of cinema, in which the audiovisual is used to produce and disseminate knowledge. The project funds one postdoc and one PhD researcher to expand the activities of the chair. 3)     Launch programs for building the audiovisual research capabilities of USI students and faculty. In 2023 a video essay workshop was launched for USI researchers to develop their abilities to produce research in audiovisual form. Video Essays are a featured component of the current cycle of the USI Progetto Culturale, “Immagini in questione (Questioning Images)." Video essay courses are offered every semester to masters students at both the Lugano and Mendrisio campuses. 4)    Screening and curatorial programs with USI And LFF to build public discourse around the future of cinema. For example, "Missing images: on festivals, essay films and untold histories" (https://lnkd.in/efPQxTz7), public talks and exhibitions with cinema artists Tsai Ming-liang and Hito Steyerl, presentation of video essays produced by students at Locarno Film Festival, Berlin, Milan and other venues, expanding the reach of the schools’ innovative teaching practices. (https://lnkd.in/e7Z_5fmD), etc.") 5)   Initiate an annual scholarly gathering for the future of cinema. Cinema Futures, a unique academic forum to explore how environmental, technological and social issues shape cinema's continued relevance to the world. Anticipated to launch at the 76th Locarno Film Festival in August 2024. It's been a very fulfilling two years - and the best is yet to come!

Fehler passieren. Jedem. Wichtig ist nur, dass man die richtigen Schlüsse daraus zieht. 💪⁠ ⁠ Eine offene Fehlerkultur bringt uns als Filmschaffende viel weiter, als nur die Perfektion zu zeigen. Im Interview erzählt Thomas von seinem schlimmsten Kalkulationsfehler. 🤔⁠ ⁠ Kleine Fehler und Anpassungen in einer Kalkulation sind seiner Meinung nach aber ganz normal. Dafür ist ja auch immer ein Kostenpuffer eingebaut. 😁⁠ Du kalkulierst selbst Filmbudgets? Dann solltest du dir unbedingt unsere Kalkulationssoftware ansehen: www.cinemacalc.com . . . Werbung weil Nennung des eigenen Produktes #cinemacalc #film #movie #cinema #cinematography #filmcommunity #filmmaking #filmmaker #filmlife #cinematic #producerlife #filmemacher #filmemacherde #werbefilm #imagefilm #produktvideo #filmproduktion #filmteam #videoproduktion #producer #filmproducer #videoproducer #videocreator #videography #produktion #filmdreh #filmkosten #filmbudget

Wie würde ein StarWars Trailer aussehen, der in den 50ern gedreht wurde? Ein KI-Filmtrailer im Making of. 🤖🎥 Solche Zeitreise-Ideen setzt eine neue Kunstform um: AI Filmmaking, das Filmemachen mit KI. Der YouTuber "Abandoned Film"s hat diese Idee faszinierend und witzig in den Trailer umgesetzt. Es gibt von ihm und anderen Filmemachern noch weitere Filmtrailer: - Alien und Matrix aus den 50ern - Back to the Future im Old-School Look 🎥 Mit diesem Workflow und mit diesen Tools entstehen diese Videos: 1) Script in ChatGPT: Hier entsteht mit einem simplen Prompt das Script für den Sprecher mit ChatGPT. “Erstelle das Script für einen Star Wars Trailer aus den 50er Jahren. Nutze die zeitgenössische Sprache” 2) Tonspur in Elevenlabs: Hier kann man das Script mit einer passenden Sprecher-Stimme in die Audiospur verwandeln. 3) Musik in Suno.ai Für den Trailer kreieren die Filmemacher dann in einem Tool wie Suno die Musik für den Trailer 4) Bilder in Midjourney: In Midjourney entstehen Standbilder mit Prompts wie “Luke Skywalker, flying an X-Wing, 1950s super panavision 70 film stock, beatiful cinematography — ar 16:9”, die für den nötigen Old-School Kinolook sorgen. 5) Animieren der Bilder in Runway: In Tools wie Runway, Pika oder Luma Dream Machine werden die Standbilder dann in wenige Sekunden kurze Filmclips verwandelt. Diese Mini-Clips brauchen oft mehrere Anläufe bis sie glaubhaft sind (ähnlich wie auch die Standbilder in Midjourney). 6) Schnitt in Premiere: In Premiere werden die Filmclips aneinander gereiht. Effekte wie “Staub und Kratzer” und einige Farbkorrekturen sorgen für den wichtigen Vintage-Look. Was denkst du über KI-Filmmaking? Und welchen Film würdest du gern in diesem Look sehen? ---

Streaming: the best films about artists: From Wim Wenders’ recent Anselm Kiefer documentary to Kirk Douglas’s tortured Van Gogh and Derek Jarman’s erotic ode to Caravaggio, cinema loves a brush with genius Visual art, oddly, doesn’t always translate that naturally to cinema as a subject. Just as you don’t get the full impact of a painting from a coffee table book, the camera can impose a distance from the art at hand – a secondary perspective that isn’t really needed. Wim Wenders bucks that trend, however, in his marvellous Anselm Kiefer documentary Anselm (Curzon Home Cinema), which feels fully alive to the angular, nature-based textures of the German painter and sculptor’s work. It’s especially exciting as a study of process – of the grand-scale action that goes into the art’s own dynamic movement. A large part of its reward came, on the big screen, from Wenders’ continuingly imaginative embrace of 3D technology. Now on VOD, the film loses that element but remains engaging for the connection it draws between Kiefer’s own thorny persona and the work itself, and its elegant bridging of the artist with his dramatised younger selves. As a documentary about an artist that makes clear how their vision emerges from their character, Anselm is not as scrappily candid as Jack Hazan’s 1973 landmark A Bigger Splash (Netflix), but belongs in that league just the same. Hazan’s film intimately traces the breakdown of David Hockney’s relationship with former lover Peter Schlesinger over a three-year period, and its effect on Hockney’s work and perspective. It alternates fly-on-the-wall observation with flights of overtly queer fantasy, serving its subject with a fascination that never feels fawning. Continue reading...

I keep feeling like I see a rhetoric that films that have done poorly like Fall Guy and Furiosa is like the fault of audiences not going to see them and therefore cinema 'is dead'. There's definitely been a lull the past few weeks but it should not overlook the fact that these films just aren't that great. Furiosa is a self-indulgent CGI assault on the eyes. The bizarre end credits of them showing clips of Fury Road was like being a failed contestant on a quiz show being told this is what you could have won. That film could have easily been cut down by an hour, got all the icky CGI and green screen out and might have had a film where audiences would be raving to their friends. I used to work in a cinema and I know the importance of a big hit. But I questioned how helpful is it having a three hour plus film in your schedule? You have less films to screen during the day and therefore less customers. But the big issue I found was when a big studio's film was an instant flop or didn't have a sustained interest beyond opening weekend. Instead of cutting their losses they would dig their toes in and be adamant the film must be still booked in. As someone that was on a zero hour contract at the time like a lot of people working in cinema that really wrecked havoc on working out what my monthly income would be like, like so many others. What baffled me more than anything else was the fact that's harmful to what is essentially your business partner. It also means that exhibitors have less opportunities to screen limited releases or smaller indie films. Especially in the UK were most films made here (that aren't big US studio films) are low to mid-budget titles. The majority of exhibitors of course will rely on the distributors for their big titles, and equally those distributors need exhibitors. But it's not an equal partnership. Distributors need to have a good look at themselves in how when they're putting out a dud that they shouldn't cock block exhibitors from programming other titles to help them tick over.

Es ist schon etwas lange her, dass ich hier etwas gepostet habe. Ich bin auf anderen sozialen Plattformen eher vertreten wie Twitter und Instagram und lerne LinkedIn als neue Plattform erst richtig kennen. Sind denn Personen/ Unternehmen hier vertreten die SprecherInnen auf LinkedIn suchen? Haben meine KollegInnen in der Branche bereits Aufträge über LinkedIn verbuchen können? Hier ein kleiner Ausschnitt einer unterhaltsamen Dubbing Challenge an der ich teilgenommen habe #filmproduction #filmstudio #imagefilm #videoproduction #marketingfilm #corporatevideo #advertisingagency #commercialproduction #cinematography #filmmaking #brandvideo #storytelling #productioncompany #videomarketing #creativeagency #contentcreation #filmindustry #visualstorytelling #mediaagency #filmcrew