Early colourising

Abroad, Pathé in particular was working on a colour system – Pathécolor – that made use of stencilling and/or manual colouring. This was a method that was already known in the field of picture postcards and wallpaper, whereby a stunning colour effect could be achieved by using different templates for each colour.

An example of this kind of colouring can be seen in the first part of the film Hollandse tulpen en klompen. This film is a compilation that consists of two short recordings. The first part is about the Dutch fields of flower bulbs. The first part is in colour, and was almost certainly made by Pathé Frères, most likely by its Dutch subsidiary Kinematograaf Pathé Frères.

This method of colouring was unique in the Netherlands, as the Dutch film companies only used the techniques of tinting and toning; the few film recordings made in the Netherlands that used colour stencilling are all of foreign (probably French) manufacture.

stencils

Radiosilence Amsterdam Airport.

During Commemoration Day on the 4th of May, Holland grieves for the people killed in wars with two minutes of silence.

The visual components of a movie are obviously integral to filmmaking; the images that are the hallmark of our medium allow us to see the narrative unfold. However, cinema is also a medium of sound, and how we use the audible elements can drastically change how our audiences respond to our stories.
Since filmmakers essentially build a film out of nothing, compiling raw footage, sound effects, dialog, and music to form a visual story, it might be difficult to recognize that what we don't put in a film is just as important (if not more) as what we do put in.
Silence can actually speak louder to your viewers than a cacophony of sound effects, dialog, and music ever could.

 

Fall of rebel angels

Virtual reality or virtual realities (VR), also known as immersive multimedia or computer-simulated reality, is a computer technology that replicates an environment, real or imagined, and simulates a user's physical presence and environment in a way that allows the user to interact with it. Virtual realities artificially create sensory experience, which can include sight, touch, hearing, and smell.

Most up-to-date virtual realities are displayed either on a computer screen or with a special virtual reality headset (also called head mounted display. Furthermore, virtual reality covers remote communication environments which provide virtual presence of users with the concepts of telepresence and telexistence or a virtual artifact (VA) either through the use of standard input devices such as a keyboard and mouse. The immersive environment can be similar to the real world in order to create a lifelike experience.

On top off

As a literary device, an allegory in its most general sense is an extended metaphor. Allegory has been used widely throughout history in all forms of art, largely because it can readily illustrate complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.

Writers or speakers typically use allegories as literary devices or as rhetorical devices that convey hidden meanings through symbolic figures, actions, imagery, and/or events, which together create the moral, spiritual, or political meaning the author wishes to convey.

Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances

Since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which the author may not have recognised. This is allegoresis, or the act of reading a story as an allegory. For instance, many people have suggested that The Lord of the Rings is an allegory for the World Wars, although Tolkien has dismissed this.

The next Rembrandt

Virtual artifacts in digital environments


Humans have expanded the existing environment to the virtual domain. Virtual artifacts can be seen as an essential cultural phenomenon in modern society. Virtual artifacts bear meanings and functions and since they are part of the world they affect real world events and people’s lives.

Virtual artifacts have certain similarities to real-life artifacts even though they do not have physical properties in the traditional sense. Simulated virtual objects (photorealistic VA) and environments have a model in the real world; however, depending on the context, an abstract virtual artifact isn’t necessarily dependent on the laws of physics or causality.

Some virtual artifacts are purely abstract in their nature, therefore they can't model real-life objects or phenomena. For example, computer programs or digital user interfaces, while often containing representative components of real-life objects, can't exist in physical terms. These virtual artifacts do not have to be comprehensible to humans at all; they can be created and understood solely by artificial intelligence.

Virtual artifacts can have physical properties (for example color, length) depending on the environment they exist in. These physical properties can be presented and perceived using a certain medium such as a computer screen. On the other hand, virtual artifacts can also contain properties that aren’t perceptible. Due to their immaterial nature they can be flexibly accessed, reproduced and archived — even simultaneously by multiple users.

 

La Ville: Troyes

Pars pro toto, Latin for "a part (taken) for the whole", is a figure of speech where the name of a portion of an object, place, or concept represents its entirety. It is distinct from a merism, which is a reference to a whole by an enumeration of parts; metonymy, where an object, place, or concept is called by something or some place associated with the object, place, or concept; or synecdoche, which can refer both to this and its inverse of the whole representing a part.


In the context of language, pars pro toto means that something is named after a part of it, or after a limited characteristic, in itself not necessarily representative for the whole.

 

Mama Halosina

The economic struggles and the everyday life of a woman and mother, Mama Halosina in Huguma village, Yahukimo District, West Papua.



Producer PV Wamena

Year produced 2015


This work is licensed under a Creative Commons License

 

Chaplin museum

As a filmmaker, Chaplin is considered a pioneer and one of the most influential figures of the early twentieth century He is often credited as one of the medium's first artists. Film historian Mark Cousins has written that Chaplin "changed not only the imagery of cinema, but also its sociology and grammar" and claims that Chaplin was as important to the development of comedy as a genre as D.W. Griffith was to drama. He was the first to popularise feature-length comedy and to slow down the pace of action, adding pathos and subtlety to it.

Although his work is mostly classified as slapstick, Chaplin's drama A Woman of Paris (1923) played a part in the development of "sophisticated comedy". According to David Robinson, Chaplin's innovations were "rapidly assimilated to become part of the common practice of film craft."

Filmmakers who cited Chaplin as an influence include Federico Fellini (who called Chaplin "a sort of Adam, from whom we are all descended"), Jacques Tati ("Without him I would never have made a film"),René Clair ("He inspired practically every filmmaker"),Michael Powell, Billy Wilder,Vittorio De Sica, and Richard Attenborough. Russian filmmaker Andrei Tarkovsky praised Chaplin as "the only person to have gone down into cinematic history without any shadow of a doubt. The films he left behind can never grow old.

Panorama Wiesbaden

Digital photography of the late twentieth century greatly simplified this assembly process, which is now known as image stitching. Such stitched images may even be fashioned into forms of virtual reality movies, using technologies such as Apple Inc.'s QuickTime VR, Flash, Java, or even JavaScript. A rotating line camera such as the Panoscan allows the capture of high resolution panoramic images and eliminates the need for image stitching, but immersive "spherical" panorama movies (that incorporate a full 180° vertical viewing angle as well as 360° around) must be made by stitching multiple images. Stitching images together can be used to create extremely high resolution gigapixel panoramic images.

Park Wiesbaden

A home movie is a short amateur film or video typically made just to preserve a visual record of family activities, a vacation, or a special event, and intended for viewing at home by family and friends. Originally, home movies were made on photographic film in formats that usually limited the movie-maker to about three minutes per roll of costly camera film. The advent of camcorders that could record an hour or two of video on one relatively inexpensive videocassette, followed by digital video cameras that recorded to flash memory, and most recently smartphones with video recording capability, made the creation of home movies easier and much more affordable to the average person.

The technological boundaries between home-movie-making and professional movie-making are becoming increasingly blurred as prosumer equipment often offers features previously only available on professional equipment.

Biebrich Schloss Wiesbaden

Historical fiction is a literary genre in which the plot takes place in a setting located in the past. Historical fiction can be an ambiguous term: frequently it is used as a synonym for describing the historical novel; however, the term can be applied to works in other narrative formats, such as those in the performing and visual arts like theatre, opera, cinema, television, comics, and graphic novels.



An essential element of historical fiction is that it is set in the past and pays attention to the manners, social conditions and other details of the period depicted.] Authors also frequently choose to explore notable historical figures in these settings, allowing readers to better understand how these individuals might have responded to their environments. Some sub-genres, such as alternate history or historical fantasy, insert speculative or a historical elements into a novel.



Works of historical fiction are sometimes criticized for lack of authenticity because of generic expectations for accurate period details. This tension between historical authenticity, or historicity, and fiction frequently becomes a point of comment for readers and popular critics, while scholarly criticism frequently goes beyond this commentary, investigating the genre for its other thematic and critical interests.

Bubbles and Baths

Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing (montage is French for "assembly" or "editing").

Although Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". Its influence is far reaching commercially, academically, and politically. Alfred Hitchcock cites editing (and montage indirectly) as the lynchpin of worthwhile filmmaking. In fact, montage is demonstrated in the majority of narrative fiction film available today.

 

Stadtrundfahrt Wiesbaden

A false ending has two contexts; in literature it is a narrative device where the plot seems to be heading to its conclusion, but in reality, there's still more to the story. In a musical composition, it is a complete stop of the song for one or more seconds before continuing.
The presence of a false ending can be anticipated through a number of ways. The medium itself might betray that it isn't the true ending (i.e. it's only halfway into a book or a song, a film's listed running time hasn't fully elapsed, only half the world has been explored in a video game, etc.), making only stories with indeterminate running length or a multi-story structure able to pull this off effectively. Another indicator is the feeling that too much of the story is incomplete when the false ending comes, making it feel like there has to be more.

Russian church Wiesbaden

The Russian Orthodox Church in Wiesbaden was built from 1847 to 1855 by Duke Adolf of Nassau on the occasion of the early death of his wife, the 19-year-old Russian princess Elizabeth Mikhailovna, Grand Duchess of Russia and Duchess of Nassau (1826-1845). This was the daughter of Michael Romanov (1798-1849), the younger brother of Tsar Alexander I (reigned 1801-1825) and Nicholas I (reigned 1826-1855). Adolf and the princess married in 1844, but the following year, she died in childbirth, as did their newborn daughter. He grieved so profoundly that he decided to build a church around her grave. He obtained the money for this church, with the blessing of Tsar Nicholas, from her dowry.
Simultaneously with the construction of the church were built a small rectory and a Russian cemetery, located about 100 meters northeast of the church.
The church was used by the already-existing Russian Orthodox community, mainly Russian guests, for whom Wiesbaden was a popular resort in the 19th century.

Andernach

Motion picture images are presented to an audience at a constant speed. In the theater it is 24 frames per second, in NTSC (US) Television it is 30 frames per second (29.97 to be exact), in PAL (Europe) television it is 25 frames per second. This speed of presentation does not vary.

However, by varying the speed at which the image is captured, various effects can be created knowing that the faster or slower recorded image will be played at a constant speed.

For instance, time-lapse photography is created by exposing an image at an extremely slow rate. If a cinematographer sets a camera to expose one frame every minute for four hours, and then that footage is projected at 24 frames per second, a four-hour event will take 10 seconds to present, and one can present the events of a whole day (24 hours) in just one minute.

Eltville in Rheingau

Imagine how our knowledge would be enriched if we had original movies of home life in the 1700s or 1850s, whatever the circumstance of the subjects! In a hundred years, and even today, your home movies will contain unique and precious documentation of a way of life – from the cut of fashionable clothing to the eroding contours of a beach. The mere backgrounds in your films may be of historical interest, even if the main subject is out of focus or making a silly face. And home movies can offer a real-world comparison to the fictionalized versions of our history conveyed through popular films and television programs.

 

 

Rudesheim am Rhein

Rüdesheim lies at the foot of the Niederwald on the Rhine's right (east) bank on the southern approach to the Lorelei. The town belongs to the Frankfurt Rhine Main Region and is one of Germany's biggest tourist attractions. Only Cologne Cathedral draws more tourists from other countries. Making the town worth visiting is, not only the wine or even the Old Town itself, but also the picturesque Rheingau landscape together with the romantic Rhine.

Kochbrunnen in Wiesbaden

Kochbrunnen

The Kochbrunnen fountain on Kranzplatz is not only the symbol of Wiesbaden, but also a place often frequented by the health-conscious. It is Wiesbaden's most famous thermal spring, because this prolific spring emits thermal water said to have a whole series of health benefits.

Funny enough we do have in Europa a sustainably amount of so called Spa-towns. Several german english and french examples can be found on this site.

the source

French impressionism

Experimental film, experimental cinema or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms and alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.

Abel Gance was a French film director and producer, writer and actor. A pioneer in the theory and practice of montage.

In 1920, Gance developed his next project, La Roue, while recuperating in Nice from Spanish flu, and its progress was deeply affected by the knowledge that his companion Ida Danis was dying of tuberculosis;[11] furthermore, his leading man and friend Séverin-Mars was also seriously ill (and died soon after completion of the film). Nevertheless, Gance brought an unprecedented level of energy and imagination to the technical realisation of his story, set firstly against the dark and grimy background of locomotives and railway yards, and then among the snow-covered landscapes of the Alps. He employed elaborate editing techniques and innovative use of rapid cutting which made the film highly influential among other contemporary directors. The finished film was originally in 32 reels and ran for nearly nine hours, but it was subsequently edited down for distribution and it is these shorter versions which have survived

Fish and more

Post-production
Here the video/film is assembled by the video/film editor. The shot film material is edited. The production sound (dialogue) is also edited; music tracks and songs are composed and recorded if a film is sought to have a score; sound effects are designed and recorded. Any computer-graphic visual effects are digitally added. Finally, all sound elements are mixed into "stems", which are then married to picture, and the film is fully completed .