Christian Van Houten History of Experimental Film Response 12 I want to say that Robert Breer’s “69” is a “musical” film, but what is meant by this? First of all, we should say that rhythm is not strictly a property of music; thus, it is more accurate to say that it is a rhythmic film, with its repeated shapes and movements throughout, and then that rhythm is a necessary but insufficient property for music, or any art, since this rhythm must “receive” a medium, a consistency, so as to take on a
Christian Van Houten HEF12.docx
Christian Van Houten Contemporary Political Theory Essay 1 In this essay I attempt to disambiguate some of the relations between the meanings of liberalism, neoliberalism, bourgeois, individualism, capitalism, and democracy, with Carl Schmitt’s The Concept of the Political and Deleuze and Guattari’s Anti-Oedipus particularly in mind. With regard to Schmitt, it is interesting to read a so-called right-wing (i.e. Nazi) critique of liberalism when most academic literature today on the subject comes
Neo/Liberalism and other Disambiguations
Christian Van Houten Neo/Liberalism and other Disambiguations
Christian Van Houten History of Experimental Film Response 4 There are two things from Stan Brakhage’s film The Wonder Ring I would like to consider. The first is layers. Specifically, the shots from inside the train looking out the window. Not only do we see what’s through the glass, but we sometimes also see the surface of the window itself, and the reflected image of those inside the train (and it’s plausible that the window reflects the other window, and they bounce back indefinitely). That’
Christian Van Houten HEF4.docx
Christian Van Houten There are many things one could say about A Movie by Bruce Conner, such as the relation between the title and the content of a movie literally composed of several movies, but I will focus instead on three related elements that came to mind while watching. One is particular to the film and the other two more general to the construction and experience of film, based on what is done here. The first is the sequencing images from disparate sources in a found footage film, specif
Christian Van Houten HEF5.docx
Christian Van Houten History of Experimental Film Response 7 Take the 5:10 to Dreamland, Bruce Conner. Immediately called to mind is 3:10 to Yuma, which refers to a train line. Already, then, we know that we’re going somewhere in the film. Indeed, the object – a white flower petal? – propelled upward by the radiator appears to transform into a kind of space rocket. And we get scientific diagrams and other objects that reinforce this possibility. Then, the “rocket”, having undergone yet another t
Christian Van Houten HEF7.docx
Christian Van Houten History of Experimental Film Response 8 Bridges-Go-Round and The Wonder Ring, both films of urban structures, have many similarities. However, what constitutes the films’ vast differences is how these similarities – and the interrelations between these elements – are foregrounded. The similarities, generally speaking, are of: color, shape, space, and texture. There are actually few colors, numerically, in Bridges-Go-Round, but they take a prominent role because of the large,
History of Experimental Film Response 8.docx
Christian Van Houten History of Experimental Film Response 8.docx
Christian Van Houten History of Experimental Film Response 9 Earthly Possessions (The Looking Glass Trilogy, Part III) by Pelle Lowe. “When the world leaves you”, words spoken in the film, would be an apt description for both what seems to go on in it as well as the experiencing of it. The quality of the Super 8 itself has a lot to do with this otherworldliness: namely, the sonic distortions and the off-white color values that feel like parchment. Though much of the film takes place in interior
History of Experimental Film Response 9.docx
Christian Van Houten History of Experimental Film Response 9.docx
Sound and Image Final Project
Christian Van Houten Sound and Image Final Project
Christian Van Houten (f)uneREAL
4 images
Thomas Aguila Digitalization and Loss
Music and the Sublime: Aesthetics, Phenomenology, and Lacanian Psychoanalysis Christian Van Houten Advisor: Dr. Christopher Latiolais Kalamazoo College Department of Philosophy A paper submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts at Kalamazoo College. 2015
Christian Van Houten SIP.pdf
Christian Van Houten Christian Van Houten SIP.pdf
Video Therzzzpy
Christian Van Houten Video Therzzzpy
Variations in the Star Spangled Banner
1 track
Christian Van Houten Variations in the Star Spangled Banner
Anna Cruze Santa Clarita, 2006
Anna Cruze Santa Clarita, 2006
Page 1 of 12 Course Syllabus: CALIFORNIA INSTITUTE OF THE ARTS SYLLABUS FOR: ART, MONEY, AND THE VALUE OF WORK COURSE LEVEL: 300 COURSE NUMBER: CHMN-342-01 SPRING 2015 CLASS TIME: 2 HOURS CLASS SIZE: 25 maximum INSTRUCTOR: MATTHEW POOLE TEACHING ROOM: Room G, Butler Building OFFICE: N/A OFFICE HOURS: By Appointment EMAIL: PHONE: 1-323-344-6033 Course Purpose and Learning Goals: What kind of work do artists do? What is the value of artistic labour? How do w
Art Money Work Syllabus.pdf
Matthew Poole Art Money Work Syllabus.pdf
Obtaining proper written permissions is the responsibility of the producer and can prevent complicated problems down the line in the event you license the broadcast or distribution rights of your film. e four most common release forms used in documentary productions are:Appearance Release for non-actorsMinor Appearance Release for children, it must be signed by a parent or legal guardianMaterials Release for obtaining permission from the owner or license holder to use photographs, audio, video,
Matthew Poole DVB-release-forms.pdf
Documentaries : A Sample Release FormPhiladelphia Volunteer Lawyers for the ArtsA program of the Arts & Business Council of Greater Philadelphia2 S. Broad Street, Suite Philadelphia, PA 112A personal release (or “picture and name” release) is an impor-tant tool for any documentary fi lmmaker. This type of agree-ment gives a fi lmmaker or production company the right to record an individual’s performance and incorporate the resulting footage into a fi lm. This agreement is most often u
Matthew Poole Documentaries_RELEASE_FORMS.pdf
Matthew Poole Production Schedule
actionURI( SchedulePromote Your Great Day Out... with FilmDATE(S):July 2010TITLE:TITLE:My Place, My SpaceMy Place, My SpaceLOCATION OF SHOOT:LOCATION OF SHOOT:BangorDirections driving from Belfast take A2 towards BangorParking available at free car park near marina.BangorDirections driving from Belfast take A2 towards BangorParking available at free car park near marina.DESCRIPTION OF THE VIDEO (2-3 sentences)DESCRIPTION OF TH
Matthew Poole production-schedule.pdf
Matthew Poole production_packet_sample.pdf
SAMPLE Preliminary Shooting ScheduleAs at DATEDay/DateSceneInt/ExtDay/NightShot Descriptions/SummaryLocationCharactersArt Department /Equip / SpecialRequirementsSHOOT DAY 1MONDAY 23 MARCH 20040800 – 0830Breakfast on arrival on location0900 –10154Int/DayRobert arrives home and overhears Jenand Libby discussing the robberyJen’s house –kitchen andhallwayJenRobertLibbyTea cupsBriefcase1015 –13.306Int/DayJen and Robert argue about moneyJen’s house –hallway and loungeJenRobertSTEADICAM1330 – 1430Lunc
Matthew Poole prelim_shoot_schedule.pdf
COMM 696 TV DocumentaryProf. Brent HurdSynopsis, Treatment and Shooting Schedule SampleThe Synopsis is a short summary describing the story. Synopsis: This travelogue will highlight one of Washington's least known neighborhoods. It will explore points of interest including the fish market, boat rides along the Potomac and history about the oldest working naval port in the USA and the odd and obscure Titanic Memorial.The Treatment is a narrative description of the production. Essentially, it us
Matthew Poole StoryTreatment&ShootingSchedSample.doc
Shot List Example – From the Movie UnrememberedScene125DAYA. FS John, Penelope, Ely stands in front of Anthony's grave, then they leave.B. MS John, Penelope, Ely. John puts arm around Penelope, she holds his hand.C. LS all as they stand then leave.87DAYA. CS rise from behind John, Penelope and Ely as they stand in front of grave.B. CS rise in front of John, Penelope and Ely as they stand in front of grave.C. LS all.D. FS or MFS all.E. CU Penelope.F. CU John.G. CU hands.74DAYA. MS Pen
Matthew Poole SHOTLIST_EXAMPLE.doc
ScriptScript Breakdowns,Breakdowns, ShotShot ListsLists andand StoryboardsStoryboardsPre-production planningBreaking down the script One of the first tasks of the producer–Necessary to estimate the budget,–Necessary to establish the schedule–Input from Director and DP–Identifies the production demands of the script –Helps to determine the logistics–Identifies problem areas that may require adjustments if script demands aren’t feasible.First things-first: The Production BookScript–Breakdown
Matthew Poole Script_Breakdowns.doc
The Documentary
Matthew Poole SAMPLE SCRIPT 3
- 1 -TEMPLATE FOR DOCUMENTARY 2-COLUMN FILM/VIDEO SCRIPTSPETER THOMPSONI wrote this template in 1989. It is Freeware. Please give it to other filmmakers with my blessing. The 2-column script format is not only extremely useful for documentary paper edits, it’s also very handy for developing ideas for narrative screenplays. Paragraph & Format Symbols:If you cannot see four paragraph symbols (¶) between this line and the paragraph above, select “Show ¶” under the VIEW menu, and they’ll pop
Matthew Poole SAMPLE SCRIPT 2
- 1 -Title:VIDEOAUDIOIn this column, write what kind of shot (LS, MS, CU, etc.) & describe what they viewer is seeing.Ex: MS: Reporter standing in front of green screen.In this column, write exactly what sounds the viewer hears. If it is someone speaking, ID the person speaking. Ex. Narrator: Welcome to NewTube…For natural sound, write Nat Sound.Ex. Nat Sound: Saws and power drills
Matthew Poole SAMPLE SCRIPT 1
Matthew Poole Sample Script Page