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Slap Shot's "Back On The Map" LP, Minor Threat "Live At Buff Hall" 7" (where I typed "fiend" instead of "friend"), and the "Where The Wild Things Are" compilation with the likes of Life's Blood (Pre-Born Against), Gorilla Biscuits, Breakdown, and Raw Deal. I also put the day I made the tape on the label for some reason....but I'm glad I did now!
Compilation of two 60 second exposures. The tree was lit up by a flashlight up inside the tree being moved around by a second person.
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.
This is a time lapse compilation of a lightning storm over the Santa Catalina mountains near Tucson AZ.
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. : )