· Schwittersit peetakse mitte ainult 20. sajandi suurimaks kollaazimeistriks, vaid pop- ja multimeedia- ja tegevuskunsti vanaisaks ja postmodernismi teerajajaks Teosed · Teosed kommertstrükistest kollaazid · Juhuslikest materjalidest konstruktsioonid · Tema kollaazid koosnesid rongipiletitest, ajalehtedest, sigarettidest, puu-, riide- ja metallitükkidest jms. · Teosed paistavad silma õrnade pastelsete värvitoonidega. Merz Pictures, 1921,montage on board The Cherry Picture, 1921,montage on board Small Dada Evening,1922 Das Undbild, 1919 Merzbild The Merzbau,1933 Merz 316 Supp,1921 Ovaalne ehitus 1925 Mainly Blue Kollaaz 1947 Merz picture with rainbow Kurt Schwitters Box-r-Bild, 1921 Picture with Light Center,1919 Merz picture with candle Kots,1930 Merz 455
,,Goodnight and Thank You", ,,The Art Of the Possible", ,,On This Night of a Thousand Stars II", ,,I`d be Suprisingly Good for You", ,,Another Suitcase in another hall", ,,Peron`s latest Flame" , ,,Dice are rolling", ,,New Argentina", ,,High Flying Adored", ,,Casa Rosada", ,,Don`t Cry for Me Argentina", ,,Rainbow High", ,,Rainbow Tour", ,,And the Money kept Rolling In and Out", ,,Santa Evita", ,,Waltz for Eva and Che", ,,She is a Diamond", ,,Dice are Rolling", ,,Eva`s final broadcast", ,,Montage" ja ,,You Must Love Me". Lauludest meeldisid kõige rohkem ,,Requiem for Eva", ,,On This Night of a Thousand Stars", ,,Buenos Aires" ja ,,Don`t Cry for Me Argentina", sest olen neid laule varem isegi kuulanud, ning kuulates ja nähes neid veel Evita muusikalis, võimendasid ainult muusika elamust. Kindel lemmik neist lauludest on kindlasti ,,Don`t Cry for Me Argentina". Osatäitjatest jäid kõige rohkem meelde meesosatäitjad Marko Matvere ja Vaiko
Ma lähen homme/ülehomme kooli- Ich gehen morgen/übermorgen in der Schule. 13. Minu pere on suur- Meine familie ist gross. 14. Kell on…- Es ist halb neun. 15. Ma õpin siin- Ich lernen hier. 16. Kool hakkab 8.00- Schule beginnt morgen am acht. 17. Täna lähen koju kell 12.00- Heute gehen nach hause am zwölf. 18. Aastas on 12 kuud- In Jahre ist zwölf monate. 19. 4 nädalat on kuus- Vier wochen ist monate 20. 7 päeva on nädalas- Sieben tage ins woche. 21. Esmaspäeval on mul 7 tundi- Am montage ich habe sieben Stunden. 22. Tund kestab koolis 45 min- Stunde lange dauert ins schule fünfundvierzig minute. 23. Millal on sinu sünnipäev? - Mein Geburtstag ist am siebenundzwanzigsten Juni. 24. Mida sa täna teed? - Heute bin ich in der Schule. 25. Mida sa hommikul teed? – Am morgens ich esse. 26. Mis kell sa ärkad? - Ich wache um sieben Uhr. 27. Mis kell sa magama lähed? - Ich gehe schlafen um zwölf Uhr. 28. Kas teil on täna õhtul aega? - Ja, ich habe heute Abend Zeit. 29
Influence of german expressionism: Alfred hitchcock, film noir, horror film, fantasy ilm. And via the idea of the artist as an author on the Nouvelle Vague. F. W. Murnau (1888-1931) Initial education: art historian. Started directin feature films in 1919: der knaube in blau. One of the founding fathers of expressionst film and kammerspielfilm. Most influental films: nosferatu, der letzte mann, faust, sunrise. UN CHIEN ANDALOU, ANDALUSIAN DOG, BUNUEL AND BATTLESHIP POTEMKIN. 20.02.12 Soviet Montage Cinema Sergej Eisenstein- most important russian film director. Born in riga. Grew up in st petersubrg. Came to the cinema from different background, japanese, kabuki theater. Started with working in theater. His cinema was based on editing. Invented a film school. Esenstein was first film maker who wrote books. Published his first book, before first movie. ,,the montage of attractions". Becomes world-wide famous for prpagandafilm ,,battleship potemkin".
of seminal characters to champion. So why then does Percy Jackson and The Olympians: The Lightning Thief, come across as slapdash? Why does it feel rushed and strung together? We barely settle in to the story before our demi-god in training is attacked on a field trip, whisked off to Camp Half Blood, and is doing his best Theseus impression (look it up). Toss in some more CG beasties, a way too short cameo by Ms. Thurman as everyone's favorite serpent-headed gorgon, a gratuitous music montage to Lady Gaga's "Poker Face" and you've got a film that is desperate to balance the needs of folklore with the demands of a contemporary demographic. That might explain Brandon T. Jackson, who literally redefines the sentiment "a little goes a long way." In his case, the savvy satyr overstays his welcome right up front, and then settles in for even more cloying aggravation. With him, everything has to have a cool and smarty-pants comeback,
klienditeeninduse parandamiseks, konkreetsele tegevusele suunamiseks jne. Näide : Teksapüksireklaam on lahendatud moodsalt ja innovatiivselt kasutades suurelt seinale prinditud QR koodi. Innovatsioon turunduses Calvin Klein Jeans replaced three of its billboards -- two in downtown New York and one on Sunset Boulevard in LA -- not with another racy montage of scantily clad models, but with a bright red QR code under the words "Get It Uncensored." (http://mashable.com/2010/07/13/calvin-klein-qr-code-billboard/) Sisuliselt töötab iga mobiiltelefon, millele fotosilm olemas, koodilugejana. Pilt triipkoodist võetakse telefoni fotokast sisse, tarkvara telefonis analüüsib triipkoodi ja loeb sealt välja inimsilmale esialgu loetamatu sõnumi. Mugavus on peamine. Calvin Klein tahtis, et inimesed läheksid CK Uncensored reklaamklippi vaatama.
1950 André Bazin kirjutab monograafia „Orson Welles“ 1951 Esimese Cahiers du Cinéma numbri publitseerimine 1952 Alexandre Astruc lavastab filmi „Le Rideau Cramoisi“ Tähtsamate kriitiliste seisukohtade algus ajakirjades Cahiers du Cinéma ja Arts: Cahiers nr 31: „Une certaine tendance du cinéma français“ (F. Truffaut) 1954 „L´Age des metteurs en scène“ (J. Rivette) „Cinémascope, Fin du montage“ (A. Bazin) 1955 Linastub Agnès Varda sõltumatu debüütfilm „La Pointe Courte“ 1956 Tunda on Ameerika kino mõjusid: „Et Dieu... créa la femme“ (rež R. Vadim) Cahiers nr 70: „De la politique des auteurs“ (A. Bazin) 1957 Cahiers nr 71: „Soixante metteurs en scene français“ (A. Bazin, J. Rivette, J. Doniol- Valcroze, R. Leenhardt, E. Rohmer) 1958-9 Uus laine puhkeb õide
truly modernist novel. Ruinous effect of capitalism on human lives. The scene of action is New York. The city itself becomes the central character, the whole novel is an attempt to show the complex nature of the novel metropolis-huge city. It is a truly modernist level in any sense, tries to imitate devices used by cinema. Late 1920's the cinema was already very popular and two great directiors-Griffith and Eisenstein. The greatest innovators of the cinema and they used the devices of montage and collage. He also uses a lot of fragmentation and rapid cutting. The novel is dominated by the high rise city, by the crowds, by the masses of people, passing by the skyscrapers, mechanisation and destructiveness. There is a multitude of characters. Two characters, ellen Thatcher-beatiful and talented Broadway actress and Jimmy Horf-newspaper reporter with and ambition to become a writer. Ellen is a success as an
the teaching of Mufasa. I advocated creating a scene where Simba is truly tested, a real O R D E A L in which he discovers his mature power in a battle with a crocodile, a water buffalo, a leopard, or some other formidable foe. T h e development of S i m b a from a scared little cub into a jaunty teen-aged lion is handled too quickly, in m y opinion, with a few quick dissolves of him grow ing older as he crosses a log bridge. A montage of scenes of h i m learning to hunt, first comically and then with greater assurance, would have been more effective storytelling. T i m o n and P u m b a a add much-needed comic relief to the story, but fail to dramatize the stages of Simba's development, the individual lessons that he has to learn. T h e y teach h i m how to kick back and enjoy life, but they don't give him what he really needs. T h e lessons learned in Act Two (be laid back, relax, enjoy life,
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