I have had heared about the role twitter & Co played in the revolutions of the arab spring, but this insider documentary about the war in Syria really gives you an idea how grassroot communication gives people hope in situations of oppression and fear:
The internet is the dominant cultural memory of our time. Video hosting web sites like YouTube are cumulate enormous archives of moving images, nourishing the old story of the information overlaod. But indeed, structuring these archives is an important question, and besides technical developments in search algorhythms and semantics, the personal recommendation has become one of the most important organisation principles of web. Blogs, Playlists, Channels, Links and Likes have become important entry points, and as the archives of visual culture have become inexhaustible, access is no longer the paradigm but selection.
At this point the curator steps in and is confrontated with the new medium challeging his profession. Not only she herself has to find ways to discover the gems in this ocean of videos, but there are some demanding questions she has to deal with. First of all there are no proper terms for what categories of online video exist. On the internet the borders blur between commercial and private content, amateur and professional and there are no rules how to define their aesthetic qualities.
Read the article here!
Even made me download Google Chrome…
An ambitous interactive storytelling project of my most favourite music video director these days, together with Arcade Fire: The Wilderness Downtown!
Well, it’s maybe ambitious, but again it nurtures my growing scepticism towards interactive storytelling. Whenever the interactive parts disturb the linear narrative, the tension and atmosphere get lost. It feels more like an technology experiment, not like a vivid story.
Make sure, you download the HighDef version from Vimeo, it’s worth the wait. Also check out Brambilla’s other works, very impressing. Read an interview with one of Crush’s producers and the artist here. Copyright issues are moentioned nowhere, I would be curious if the requested the rights or just went for it?!
I don’t know if we can but at least now there’s hope.
Listen to the clip without the picture, thereby it even get’s more scary.
“It’s such a sadness that you think you’ve seen a film on your fucking telephone… get real!”
Well, there’s no real argument in Lynch’s statement here, but I myself am wondering if films are working on a small screen. Has anyone already seen a short film or somethink else which was convenient to watch on a phone? Well, I’ll get back to you on that topic when I’ll get my IPhone :-)
Via Projector Films.
How does that sound to you? Lame doesn’t it? When THE FIRST FULL FEATURE ON YOUTUBE, Four Eyed Monsters, came out, I was wondering how much of it’s success you could count on it’s the first mover effect. Well, The Cult of Sincerity is the first full feature DEBUT on YouTube but it seems like it can’t get as much attention as FEM did, until now it only attracted 20k viewers.
When I watched the movie I was thinking about reception situations again. How much time do you give a movie to catch your attention when you see it in a cinema? 30 Minutes? More? How much time do you give a movie on YouTube to catch your attention? 5 minutes? 2? When FEM came out, I gave it a try, because I really wanted to know what’s the first feature on YouTube is like. It turned out to be a great movie! This time with COS I had a much lower attention span so I caught myself clicking away the movie after some minutes. But movies need their time to envolve, they need their time to construct a rahter complex story…that makes them interesting. Just because you see it on the Internet, why does it have to blow up fireworks in the first minutes to hook you up? Therefore I gave COS a second try, and guess what…it turns out to be a great movie!
So go watch it here:
“I like your website.”
“The profile or the site?”
“So are we electronic friends yet?”