Live: Super Stream Me 26 Nov 2015 at 20:00
A look back on one of the most ruthless live streaming experiments ever with Tim Den Besten and Nicolaas Veul as well as several special guests.
Live: VR Cinema Showcase 24 Nov 2015 at 20:00
Virtual reality pioneers show their latest works and reflect on both the hype and artistic potential of virtual reality and immersive media.
Live: The Art of Artificial Intelligence 23 Nov 2015 at 20:00
Live cinema event on artificial intelligence, including live presentations of Kyle McDonald, Dries Depoorter and Ross Goodwin.
Jump Cut analyzes “Man With a Movie Camera Remake”
Film journal Jump Cut analyzes “Man With a Movie Camera Remake Project” (shown at DocLab in 2009). In 2006, Bard proposed The Man With the Movie Camera: The Global Remake as a much expanded exercise in remaking Vertov’s film. Simply
In 2006, Bard proposed The Man With the Movie Camera: The Global Remake as a much expanded exercise in remaking Vertov’s film. Simply put, the idea was to design a website on which contributors could upload individual shots corresponding to those in Vertov’s original work. The site would also provide an opportunity to screen the remake in tandem with the original.
Bard offers both the communal viewing experience and a similar counterpoint in her public screenings of The Man With the Movie Camera remake. The viewer sees two concurrent sets of images on a single screen: Vertov’s original film and the remake of it that has been constructed on the Internet. The viewer’s visual experience also includes a third set of images, i.e. comprised of a counterpoint between the first two. What we are watching then is the 1929 work, already a masterpiece of dialectical montage, in juxtaposition to a stream of images responding to it. The effect is a kind of second layer montage, somewhat akin to Roland Barthes’ second layer of semiotic meaning.
What does this say about documentary? A remake is the foregrounding of documentary desire—a desire to avoid the transformation of image into iconography. Documentary asks how an image avoids becoming archetypal and hence “fictional” in the sense of functioning as something with an irrelevant original (hence Morris’s hostility toward Baudrillard).
And this, in the end, is what both Vertov and Bard are about. Documentary is the external world mediated. Their joint venture is to see much of that world and how many forms of mediation can be included within what remains a coherent structure. It really is the Big Bang. For we know that our ultimate reality is an ever expanding universe and an ever more diverse set of tools for perceiving it.
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