On Quotation.
How Hyperkino is making its way into critical jargon where it mutated to HYPER-KINO. Tommaso Schulze in SPEX #321, June 2009 about Tarantino's "Inglourious Basterds":
WAS ERLAUBEN TARANTINO? – DAS HYPER-KINO DES FILM-ZITATORS
michal klodner, 16. 2. 2010 19:28, 0 komentářů
Tagy
film annotation, russian film, reconstruction, hyperkino
1. Engineer Prite's Project (1918, Lev Kuleshov) - Hyperkino annotations by Natascha Drubek / Nikolai Izvolov
2. October (1927, Sergei Eisenstein) - Hyperkino annotation by Yuri Tsivian
3. The Great Consoler (1933, Lev Kuleshov) - Hyperkino annotations by Ekaterina Khoklova
4. Happiness (1934, Alexander Medvedkin) - Hyperkino annotations by Nikolai Izvolov
5. Strike (1924, S. Eisenstein) - Hyperkino annotations by Natalia Riabchikova
The annotations are structured as a system of footnote-like entries placed in support of key points in the film. They can be examined in the course of viewing the film; or can be switched off.
Film annotations include:
A. Academic, multifaceted, original interpretations of the content and the form of the films, written by experts in the field.
B. Explanations of political, everyday and other realities, of ethnographic and linguistic details.
C. References to archival and bibliographic sources.
D. Additional visual materials - photographs, drawings and fragments from other films - which can be comparatively analyzed in relation to films in question and expand their discursive contexts.
Additional titles are currently in preparation.
RUSCICO is releasing a series of classic Russian films in the Hyperkino format edited by Nikolai Izvolov in February 2010 http://www.ruscico.com/ e-mail address for orders and enquiries: honnest@ruscico.com
michal klodner, 16. 2. 2010 19:10, 0 komentářů
Tagy
digital reconstruction, hyperkino, film annotation
The Project of Engineer Prite (Proekt inzhenera Prayta) & Hyperkino - Digital Revival of Early Classics / Interactive Presentation by Nikolai Izvolov - 2/2/2007, 2:30 PM, Venster 2
FILMOVÁ A TELEVIZNÍ FAKULTA AKADEMIE MÚZICKÝCH UMĚNÍ V PRAZE > more...
FAMU vznikla v rámci AMU v Praze (filmový odbor) v letech 1946/47 jako pátá filmová škola na světě - po Moskvě, Belíně, Římu a Paříži. První uchazeči zde mohli studovat režii, dramaturgii a filmový obraz.
Dnes FAMU zahrnuje nasledující katedry a pracoviště:
