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*Juxtaposing tv news footage*
Micheal Moore loves to create strong juxtapositions in his films, for maximum effect. A typical juxtaposition he creates in Fahrenheit 911 is the shot of an Iraqi woman crying about the people she lost in her bombed house and Britney Spears entertaining young people as her contribution to an effort to find new recruits for the war.
Some reviewers consider this not fair to Spears, but Moore thinks that if she gets involved in recruiting he is free to use her image of youth and happiness to emphasise the sorrow of the Iraqi woman [find REF interview, make precise]. Other reviews claim Moore is doing nothing else than documentary filmmakers have been doing for ever: bring his perspective into the films he makes [REF The New Yorker].
Filmmakers like Moore follow Shub and Eisenstein in their openness about the constructive aspects of the films they make, and the collisions they setup to let the audience create meaning. This is not necessarily propaganda; it is how films work, also documentary films. The biggest accomplishment of Fahrenheit 911 is perhaps that is has reminded many audiences, not in the last place in the United States, that documentaries are different from journalism and that they are supposed to have an opinion.
At many instances in the film, footage that originally was meant to be neutral or favourable to George Bush turns against him through the rhetoric that Moore builds with his narration and juxtapositioning of images. Waugh (in Nichols (ed.) Movies and methods II, University of California Press, Berkeley and Los Angeles) calls this recontextualisation “democratic didacticism” because it allows the viewer to read the film on at least two levels: the intended meaning of the footage and the perspective added by reconstituting the material. A dialectic between these two levels emerges and forces viewers to develop their own opinions. Compiling research material like this is useful for design research too, if it is supposed to fuel discussion rather than present user requirements.
View the trailer.
DVD available on Amazon
Novelty postcard of 56 images produced by the Lyall Commercial Printing Co. Ltd., Winnipeg. The selection and content of images suggests a date around 1913. The images are miniaturized versions of full-size Lyall postcards.
This postcard also serves as an index to Lyall's images and allows us to make a rough estimate of how many he might have produced in his initial years in the city (roughly 1911-1912), as I currently have about 35 Lyall images in this time period of which six (as best I can tell) appear on this one. Therefore, on the assumption that what I have obtained is a random sample, one could very roughly estimate that his total output during this time was somewhere between 4 to 8 times the number of images that appear on this postcard, viz. somewhere in the range of 225 to 450 different postcards.
OUT NOW / WE³ COMPILATION
Monked Records / Cassette Limited Edition
Odeeno - Dancewithstar
With me present , Zhāng Farragol , drwn., Pelvo, Mazinga Paddon , Coach Motel, Drips Zacheer , Alex Boneless , Awlnight, Dweeb , Fed Nance, and any more beatmakers...
Cover : KING POM
WE³ is the third annual compilation collecting together beats from different countries/continents and weaving them together to present a sonic snapshot of where the scene is each year so respect to all the producers for their blood, sweat and beats + to all the supporters for being the soul...
soundcloud.com/monkedrecords/a6-odeeno-dancewithstar-we-m...
Using levels and a vice, the uprights are at the same angle, z height, and spread. You don't need a level floor to build, but I bet it would be a lot easier.
*Juxtaposing newsreels with home movies*
Esfir Shub applies what Sergei Eisenstein calls ‘intellectual montage’ to newsreels and home movies. Intellectual montage is based on the idea of creating meaning out of the ‘collision’ of film shots: “two film pieces of any kind, placed together, inevitably combine into a new concept, a new quality, arising out of that juxtaposition” (Eisenstein in Jay Leyda (ed.), Film Sense, Faber and Faber, London, 1986 (1943), p.14) This stands opposite the idea that montage connects shots of film to create continuity, as for instance the classical Hollywood system does.
By the mid 1920s Shub is a skilled editor and experiments with diverse found footage material. As an editor, she sees opportunities for the use of existing film material to tell the story of the 1917 revolution ten years after the event. Very little film material on the actual revolutionairy events is available but Shub finds ways to use what was then considered ‘counter-revolutionairy’ film like home movies of Tsar Nikolai II. Combining this material with old footage from newsreels, she makes The Fall of the Romanovs (1927). Her story of the revolution creates meaning that is contrary to the originally intended meaning of the footage. A technique she develops in this film is the juxtaposition of images to give them a new, often opposing meaning. She follows Eisensteins idea of intellectual montage and expands it to creating inversed meanings out of the collision of shots from newsreels and home movies.
This description of a scene from the film is a good example of this technique:
A crowd of elegant idlers are dancing [a mazurka on the awninged deck of a yacht].
The dancing tires some of them. They drink wine.
Title: ‘It made me sweat.’
And again they dance.
Title: ‘...sweat.’
A peasant, exhausted by his work, ploughs a furrow...
(Weisfeld quoted in Leyda, Films Beget Films, Allen & Unwin, London, 1964, p. 28).
Juxtapositions like this might seem simple and straightforward today, but as Leyda says, “it took [Shub] imagination to dig them from her raw material” (Leyda, 1964, p. 27). Our familiarity today with these kind of oppositions in editing shows how well accepted this technique, which was invented for propaganda, has become in features, documentaries and commercials.
I did not find a copy of this film on tape or DVD.
Using Amy Butler's pattern, I modified them to make some additional bags. The smaller tote is great as a modern lunch bag. The larger handbag allows me to carry my composition book and journal as I make my way through fabric stores, outdoor markets and nurseries.
Ethan...
What can I say? He's an absolute clown and the family comedian...
He's grown up around cameras and camcorders and, by watching his 3 older brothers, quickly realized the benefit of throwing himself out there we're snapping pictures or recording..
Yesterday, he kept coming into my studio making faces trying to get me to laugh. So, I grabbed the camera and here is the series we shot.
Definitely worth a quick trip to the "All Sizes" button. : )
This is a shot of White Pages verification. Every single bit of data in the white pages is checked by at least three people, to confirm that it is in fat accurate. Their software they use is home-grown (and proprietary), and was remarkably efficient for the task.
(Photo provided by ReferenceUSA)