Let the bees buzz, please! Een masterproject met engagement..

2012 / 02:15 / BE

The films were made between 1964 and 1966 at Warhol's Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second. The resulting two-and-a-half-minute film reels were then screened in 'slow motion' at 16 frames per second. Many of the Screen Tests were arranged in different compilations such as 13 Most Beautiful Women, 13 Most Beautiful Boys, and 50 Fantastics and 50 Personalities. This was done with the intention of pleasing certain audiences who Warhol was exhibiting his art to. Over 500 screen tests were made, but not all kept.

2009 / 04:00 / USA

Robert Brownjohn (August 8, 1925 — August 1, 1970) was a graphic designer known for combining formal graphic design concepts with wit and sixties pop culture. He is best known for his motion picture title sequences, especially From Russia with Love and Goldfinger (James Bond).

Klein’s first film is a dizzying and dazzling study of a night in the life of New York’s Great White Way. Focusing on the play of lights and shadows, colours and forms in motion, the camera jumps between the flashing bulbs and neons of Times Square’s iconic advertising and the silhouettes of men at work on theatre marquees, as they re-arrange letters on the lightboxes, poised like acrobats on their stepladders. These concrete details are counterbalanced by more impressionistic moments of pure colour, distorted light reflections and severed fragments of words or texts, exemplary of Klein’s life-long interest in typography. Illustrative of Klein’s transition from photographer to filmmaker, Broadway by Light was declared by Orson Welles to be ‘the first film I’ve seen in which colour was absolutely necessary.’ Klein was encouraged by his friends Alain Resnais and Chris Marker to make the film, and Marker wrote the brief text that appears onscreen at the beginning of the film.

Music: Maurice Le Roux
1958 / 12:00 / FR

Een croque-monsieur versus een hotdog, Amélie versus Carrie, een baguette versus een bagel, ville Lumière versus de big apple. Jawel, we hebben het over Parijs en New York. Overeenkomsten, tegenstellingen en clichématigheden worden door grafisch designer Vahram Muratyan treffend in beelden gevat. Muratyan, die pendelt tussen Parijs en New York, publiceert de treffende vergelijkingen tussen de twee metropolen op zijn blog: www.parisvsnyc.blogspot.be/

2012 / 01:05 / FR

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1926 footage of Wassily Kandinsky at work – Kandinsky was at the Bauhaus at this time

1926 / 02:08 / RU

…all the text of Stéphane Mallarmé's poem of the same name is cut out and played on an automatic piano.

instrument: Pianola Metrostyle Themodist The Aeolian Company, NY 1910

location: Musikinstrumenten-Museum Berlin Staatliches Institut für Musikforschung Preußischer Kulturbesitz
camera & sound engineering: Michael Otto

sound assistance: Misaki Kawabe, Nick Thurston

2009 / 02:19 / D

Directors Henry Joost and Ariel Schulman received a special request from John Baldessari, the subject of their new short, on who should narrate the 6-minute documentary: Tom Waits. What follows is a witty, well-paced and inspiring highlight reel of Baldessari’s career, complete with his list of 3 things every young artist should know:

1) Talent is cheap.

2) You have to be possessed, which you can’t will.

3) Being at the right place at the right time.

In keeping with Baldessari’s own 1971 mantra, this film is intriguing throughout—the complete opposite of boring art.

2012 / 05:30 / USA

Yeah! This is a national message! N.A.S.A. worldwide! One...Take the spotlight off me. (take the spotlight of me)

2009 / 04:30 / USA

Neighbours is a 1952 anti-war film by Scottish-Canadian filmmaker Norman McLaren. Produced at the National Film Board of Canada in Montreal, the film uses the technique known as pixilation, an animation technique using live actors as stop-motion objects. McLaren created the soundtrack of the film by scratching the edge of the film, creating various blobs, lines, and triangles which the projector read as sound.

1952 / 08:18 / CA

François Truffaut haalde voor zijn eerste langspeelfilm inspiratie uit zijn eigen benarde jeugd. Toch is er geen spoor van zelfmedelijden. Les 400 Coups is fris, grappig en totaal onsentimenteel, één van de eerlijkste beschrijvingen van de jeugdjaren ooit gemaakt. Aan de 13-jarige Jean-Pierre Léaud ontlokte Truffaut een spontane vertolking als Antoine Doinel, het alter ego van de regisseur. Les 400 Coups leidde mee tot de doorbraak van de Nouvelle Vague.

1959 / 02:50 / FR

Looking at mans relationship with the natural world. Music: In the Hall of the Mountain King by Edvard Grieg.

2012 / 03:35 / UK

Israeli-born graphic designer Avinoam Noma Bar gives us an exclusive first look at his latest creation for the London Design Festival, 'the dog', an image-making machine that produces die cuts from various materials - from paper to wood. After serving in the Israeli navy and attending Bezalel Academy of Art and Design in Jerusalem, Bar moved to London to work as a designer. Here, he tells us how design saved him from the darkest moments in his life and what he means by 'negative space'.

2009/ 03:55 / IL

Sight successfully tackles the subject of augmented reality, commenting on the potential impact of this rising technology.

In the short futuristic film by Eran May-raz and Daniel Lazo, we find out what it means to live in a virtual reality, where everything from the art hanging on the walls to the reactions of the date sitting across the table are displayed in a contact lens-like device for our own eyes only.

May-raz and Lazo created the film as a graduation project, while attending Bezaleal Academy of Arts in Jerusalem. The high production value of the short HD film displays a skillful restraint and flow often reserved for the silver screen.

2012/ 07:50 / IL

Freedom on the Fence is a 40 minute documentary about the history of Polish posters and their significance to the social, political and cultural life of Poland. The film examines the period from WWII through the fall of Communism, and captures the paradox of how this unique art form flourished within a Communist regime.

The documentary contains interviews with older and younger generations of poster artists, examples of past and current poster work, historic and current film footage of where and how the poster is viewed, and commentaries from both American and Polish scholars and artists on the significance of the Polish poster as a cultural icon.

2009 / 06:30 / USA

"Het is geen flatteus beeld, maar wel realistisch" (Rem Koolhaas). In Koolhaas Houselife leidt huishoudster Guadalupe Acedo ons rond door het Maison à Bordeaux, in 1998 ontworpen door Rem Koolhaas en zijn bureau OMA. Het is een meesterlijk voorbeeld van recente moderne architectuur. Anders dan andere films over architectuur concentreert deze zich niet zozeer op de structuur en virtuositeit van het gebouw. De toeschouwer krijgt de kans om binnen te dringen in het verborgen huiselijke leven in een architectonisch icoon. Aan de oppervlakte lijkt deze documentaire een karikatuur van alles wat er mis is met het gebouw, hiermee de geldigheid bewijzend van de uitdrukking "all great architecture leaks". Terloops wordt verwezen naar de absurde moderne wereld van Jacques Tati's Mon Oncle. Hoewel de film eerder het prozaïsche benadrukt dan het esthetische, houdt de kijker er een zeldzaam inzicht in dit gebouw aan over. Een experiment en een nieuwe visie op architectuur.

www.koolhaashouselife.com

2007 / 09:20 / IT

A lonely artist sets up his master piece in the middle of a junk yard.

De Marion DELANNOY, Jonathan DJOB NKONDO, Paul LACOLLEY, Kevin MANACH, Nicolas PEGON, étudiants de la formation Concepteur et réalisateur de films d'animation (2e année) à GOBELINS, l'école de l'image.

Film réalisé comme court métrage d'ouverture pour le Festival International du Film d'Animation (FIFA) d'Annecy 2010.

2010 / 00:56 / FR

Richard Rheem is described in the first volume of the Warhol film catalogue raisonne as "a young man from a prominent California family" who met Warhol at a party given by his uncle Bob Rheem and the artist/poet Liam O'Gallagher to celebrate the opening of the E.P.I. Warhol asked Rheem if he'd like to be in movies.

After Warhol returned to New York, Rheem wrote him some letters and spoke to him on the telehone. Two letters from Rheem have been found in Andy Warhol's Time Capsule 79 - one dated July 27, 1966 and another dated September 7, 1966. He arrived in New York around the beginning of October 1966 and a romance with Warhol ensued, with Rheem giving Warhol's address as his own (1342 Lexington Avenue) on a talent release dated November 7, 1966. Victor Bockris' biography of Warhol has them living together until the second week of December 1966. After they split up Rheem continued to write to Warhol on a friendly basis as letters from him have been found in Time Capsules 12, 19 and 10 from 1968 and 1969.

In addition to being the subject of four Screen Tests, Rheem also appeared in Tiger's Place, The Andy Warhol Story (as Gerard Malanga), Richard and Mary I and II (with Mary Woronov), Since (as Governor Connelly), the colour version of Susan-Space, Ingrid and Richard, Mrs. Warhol and The Bob Dylan Story.

2009 / 04:00 / USA