Author Topic: [Super 8 war ein Medium für Autodidakten... ]  (Read 14723 times)

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Offline Textaris(txt*bot)

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[Super 8 war ein Medium für Autodidakten... ]
« on: June 12, 2007, 01:37:52 PM »
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[...] Ein Film, sagt Jean-Luc Godard, bestehe aus 24 Bildern pro Sekunde. Aus 24 Wahrheiten. Godard irrt. Das sind sechs zu viel. Um eine Bewegung als flüssig wahrzunehmen, genügen 18 Bilder. Und, ganz wichtig: die Dunkelphase dazwischen. Erst sie setzt die Einzelbilder zueinander in Beziehung. Wie eine Verpuppung – und danach beginnt wieder das neue Leben. Aber ohne dass das alte verschwindet. Im Unterschied zum Theater – hier geht der Vorhang auf und nach der Vorstellung wieder zu, dann ist Schluss – haben Filme ein Gedächtnis.


Aus: "Sinnliche Bildermacht" (10.06.2007) / [10.06.2007]  Aufgezeichnet von manfred.engeser'at'wiwo.de
Aus der WirtschaftsWoche 24/2007.
Quelle: http://www.wiwo.de/pswiwo/fn/ww2/sfn/buildww/id/124/id/275891/fm/0/SH/0/depot/0/
« Last Edit: September 01, 2019, 06:49:47 PM by Textaris(txt*bot) »

Offline Textaris(txt*bot)

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[To talk aesthetics for a moment... ]
« Reply #1 on: September 13, 2007, 07:32:33 PM »
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[...] The great film-versus-video debate has been done to death in the last couple of
years, so don't worry-you're not going to read any pithy arguments here about
how Super8 film has none of the inherent glitches or drop-out that all consumer
video formats suffer from, etc. We've heard it all before and we all know there are
many reasons why film is superior to tape. With that said, though, I'll give you my
take on why 8mm film seems to be coming out on top in the small format wars.
To talk aesthetics for a moment, I believe that most visual artists would agree
with the premise that beauty can be found in everything around us-in nature,
people, industry, culture, even in the horrors of war. After years of observation I
believe that Super8 is a unique small-format medium that gives
cinematographers a special tool to frame and capture that beauty and then represent
it for others to appreciate. Video cameras merely record an event where
something beautiful took place, but the event is rarely captured in a form that
enables others to appreciate the true essence of what the human eye saw to be
beautiful.In my time as a Super8 camera operator I've become convinced that the
result of shooting film as opposed to video has a lot to do with the way in which
each film frame is captured. With film, of course, light burns a frozen moment of
time into the silver halide crystals embedded within the emulsion. There's a purity
to that process. Compare this to a CCD video chip splitting light into pixels and
compressing it through a maze of wires, and this, for me, is reason enough why
video always seems flat and lifeless when compared to the rich organic quality of
Super8 film.

This philosophy explains why video is such an ideal format for newsgathering
and current affairs programs, where raw immediacy and realism demand a clean,
flat window on the world.


From: "Small Gauge for the Digital Age" (pro8mm.com, Date ?, Author ?)
Source: http://www.pro8mm.com/pro8_pdfs/Articles/smallgauge.pdf


Offline Textaris(txt*bot)

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[that medium is also the first formal and therefore, artistic, choice... ]
« Reply #2 on: September 27, 2007, 08:26:47 PM »
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[...] Some people believe there is only one sound more enchanting than the thud of a love letter falling through your letterbox: the sound of a yellow Kodachrome envelope falling through your letterbox, returning revealed and timelapsed, like a forgotten letter to yourself.

[...] For all the inspiring Super 8 work of Guy Maddin, Derek Jarman and Andrew Kotting, DV remains the norm in emerging filmmaking. To the point where we forget that medium is also the first formal and therefore, artistic, choice. Making a film on Super 8 is a rigourous exercise and a learning curve in cinematography: you have fewer chances to get it right and less opportunity to correct. Paradoxically, this is incredibly freeing. Discipline can be a terrific motor for imagination and when you get three shots at a scene, you try and think about it in a way that is exhaustive. Super 8 filmmaking is involved and direct in a way that DV, which can wear its DV treatment on its sleeve, can never be. And the rewards are addictive. From the very physical wait for the purring rushes (or development if you’re feeling brave) right through to the splicing and editing.

Primitivism, memory, an impoverished, arcane and grainy look, the silent era, the oneiric…

Super 8, apparently, looks like all these things all the time.


Fragment from: "Old tricks for new dogs, or how I fell in love (with Super 8) all over again" by Sarah Francoise (16.05.2007)
Source: http://www.thebroadsheet.org/opinion/article/old_tricks/


« Last Edit: September 27, 2007, 08:30:47 PM by Textaris(txt*bot) »

Offline Textaris(txt*bot)

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[Der diskrete Charme von Super 8... ]
« Reply #3 on: June 19, 2008, 12:35:22 PM »
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[...] Der diskrete Charme von Super 8 liegt allerdings nicht nur in den freundlichen Bildern, sondern auch in der ihnen eingeschriebenen Melancholie. Die grobkörnigen, farbenfrohen Filme sind in unserem Bildgedächtnis fest verbunden mit der Vergangenheit.


Aus: "Hundert Mal Berlin" Von Stefanie Büther (ZEIT, 17.06.2008)
Quelle: http://www.zeit.de/online/2008/25/super8-berlin?page=1


Offline Textaris(txt*bot)

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[Nichts geht über... ]
« Reply #4 on: June 19, 2008, 12:39:03 PM »
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"Nichts geht über die natürliche Körnigkeit des Films. *Monokel zurecht rück*"


Autor: ? (2008)

Offline Textaris(txt*bot)

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Re: [18 Wahrheiten pro Sekunde... (Notiz)]
« Reply #5 on: June 19, 2008, 12:46:29 PM »
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[...] Super 8 war ein Medium für Autodidakten. (Michael Brynntrup)


Quelle: http://www.taz.de/1/leben/film/artikel/1/rette-dein-leben/ (12.06.2008)

Offline Textaris(txt*bot)

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[The sublime aesthetics of deterioration... ]
« Reply #6 on: January 19, 2010, 02:59:06 PM »
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[...] “There is something unusually pretentious about the medium. However, regardless of the over contrived nature of the beast, there is [for many] a mystified notion about it. … the appeal of Super 8 is that it represents a lot of romanticized imagery and is itself representative of a genre that sanctions obsession.

The sublime aesthetics of deterioration has been sentimentalized and will continue- just as cult-like appreciation of distorted Polaroid film grows-; yet the analog vs. digital battle becomes tiresome. Genuine interest in this kind of retro indulgence walks a fine line as to how much it is about the imagery, the imagery of deterioration or simply the fetishized rarity. [...] More than sitting down to passively enjoy someone else’s impression of what Super 8 is or represents, a more formal course-like introduction would maybe sustain the series and add much-needed grounding to an otherwise potentially elitist niche that only those with specialized knowledge can really [claim to] enjoy.

At the end of the day, maybe the lure of Super 8 film, like any homemade film, is the event, and perhaps the way in which people unite over it and talk about it. In this regard, hopefully SUPER 8 NIGHT facilitates a richer dialog about and appreciation for the medium of film, as opposed to it being the completely digital interface that we have all grown so used to[.]”

...


From: “SUPER 8 NIGHT at Bas Fisher Invitational” by by Angela Diaz (01/2010)
Artlurker – A Miami based contemporary art newsletter / blog
Source: http://www.artlurker.com/2010/01/super-8-night-at-bas-fisher-invitational/


Offline Textaris(txt*bot)

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[Zelluloid im Aufruhr... ]
« Reply #7 on: May 27, 2010, 11:33:54 AM »
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Super-8, eine verlorene Kunst.


Aus: "Zelluloid im Aufruhr - Claus Löser zeigt Ausstellungs- und Filmkultur aus der DDR" göt (20.05.2010)
Quelle: http://www.sueddeutsche.de/35d38k/3358792/Zelluloid-im-Aufruhr.html


Offline Textaris(txt*bot)

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[Wie die Sprache von Brecht und Weill... ]
« Reply #8 on: October 21, 2010, 04:30:43 PM »
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[...] Vor allem die Super 8-Technik ergibt dabei einen gewissen "Expressionismus", den sie als ähnlich roh empfindet wie die Sprache von Brecht und Weill.

...


Aus: "Am Ende bleibt nur noch der Tod" Von Stefan Musil (13. Oktober 2010)
Die junge Französin Juliette Deschamps inszeniert Brecht/Weills "Sieben Todsünden" im Theater an der Wien
Quelle: http://www.wienerzeitung.at/DesktopDefault.aspx?TabID=3895&Alias=Wzo&cob=521859