Collectieblog

  • Interaction designers Bogaerts and Vos reinterpret Bart Vegter’s 2008 film ‘De Tijd’

    vrijdag 11 maart 2016

    Recently EYE was part of a quite exciting project involving the re-enactment of the software code filmmaker and computer artist Bart Vegter used to create his computer abstract animation film ‘De Tijd’ in 2008.

    In 2011 after the filmmaker passed away, his complete archive was donated to EYE. We had already previously worked on the restoration of his films, but this was the first time we received a filmmaker’s archive made up of a diverse range of media testifying to the different image-making techniques he used during his lifetime; together with previously unreleased 16mm or 8mm early films, the boxes also included old hard-drives and floppy disks containing the software code he wrote to make his computer films.

     

    As the expertise of our film curators and restorers lies primarily in the preservation of analogue and digital film rather than computer art the computer-based artefacts in Vegter’s archive presented us with a number of challenges. In order to bring us closer to understanding and appreciating the working method of Bart Vegter, and his use of the computer as a creative medium, EYE commissioned Bram Bogaerts and Jesper Vos to respond to this archive. We asked the designers to focus specifically on the preservation and access of the self-written software code. The result is ‘Machine Room’; a large-scale spatial installation which is a real-time visualization of the computer code Vegter used to make his 2008 film ‘De Tijd’ and at the same time a study of the life-span of software codes.

    Still provided by Bram Bogaerts and Jesper Vos

     

    Who was Bart Vegter and why is he important to us?

    Bart Vegter (1940-2011) was an experimental filmmaker who lived and worked in Rotterdam. He is often considered one of the pioneers of abstract animation in The Netherlands.

    Initially Vegter did not train as a filmmaker. In his twenties he studied Electronic Engineering at Eindhoven University and, following this, went on to work as an engineer for a number of large corporations. After working in this field for almost two decades Vegter decided he wanted a career change. In 1976 he began to channel his energy into experimental cinema. He started attending Frans Zwartjes’ Cine Workshop at the Psychopolis Free Academy of Art in the Hague (Vrije Akademie). During his time here he was introduced to the work of a number of prominent Dutch experimental filmmakers and animators. Jacques Verbeek, Paul de Mol and Karin Wiertz, as well as the artists associated with 1960s and 1970s American experimental cinema, influenced Vegter’s early film work.

    During his first years as a film-maker, he worked mainly with traditional animation techniques. In 1981 he made his first experimental film, Horizontalen. This film, along with  In Need of Space (1983), De Hemel is Vierkant (1985), and Four Moves (1987), was filmed on 16mm and made by using traditional methods like cuts-outs, cell overlays and other printing techniques. From the 1990's Vegter started to use computer generated images in his films, the first one of this kind was Nacht-Licht (1993). The films that followed, Space-Modulation (1994), Forest-Views (1999), Zwerk (2004), and De Tijd (2008) all were made using his self-written computer software code. These computer-made films were transferred back to film for projection copies on 16mm and 35mm. Vegter continued to make films using this technique up until his death in 2011.

    Still from De hemel is vierkant

    Hemel is Vierkant (1985) by Bart Vegter Still from Horizontalen Horizontalen (1981) by Bart Vegter Vegter’s switch to computers was based upon his desire to combine his technical background with his creative interests and to be able to explore a new medium. Though Vegter’s use of computers changed the aesthetics of his films, his overall approach to filmmaking remained the same throughout his life. He was interested in exploring the inherent qualities/rules of processes present in physical realities or perceptual experiences. As Joost Rekveld writes on Vegter:   “He had an eye for intriguing visual phenomena…He took many pictures of sand patterns in the dunes, enjoyed the rhythmic circular waves in a puddle when it was raining, admired the light projections on his wall caused by the sun’s rays reflected off windows and through trees, and wondered why he could only see the reflection of his cactus in the window when he was moving it…In a way, besides their beauty and originality, perhaps the strongest statement the films of Bart Vegter make is that they share his admiration, curiosity and above all his pure attention for the visual world.”   The computer-made films of Bart Vegter are the end result of a long process which starts with a self-written software code that either creates or manipulates an image. These codes could be considered the DNA of the film but contrary to film, they cannot be read or easily accessed by third parties. Researching the Bart Vegter software code for the project ‘Machine Room’ is a first step into understanding how he worked with the computer and could hopefully provide interesting insights into computer art in general and its preservation, an area of interest not yet widely spread among film archives but in need of attention due to the speedy technical obsolescence of equipment and softwares. In the future we hope to develop and expand upon this area of research. For more information on this project you can watch the short documentary we produced for Art-Tube with interviews of Bogaerts and Vos, Martijn van Boven and Simona Monizza.

    On Tuesday 15th March 2016, in collaboration with ArtEZ, EYE will present ‘Machine Room’, the EYE-commissioned installation by interaction designers Bram Bogaerts and Jesper Vos.

    To know more about the project Machine Room you can watch this short video reportage  by Bram Bogaerts and Jesper Vos.

    Simona Monizza, Curator Experimental Film & Ruth Sweeney, intern

    experimental film, computer, digital, technology, interactive, interaction, archive
  • Collection H. Rider Haggard: Imperialist adventure fiction in silent and sound film

    maandag 7 maart 2016

    In the early 2000s the EYE Filmmuseum received a large amount of film-related materials (in particular about Dutch silent film) through the estate of film collector and historian Geoffrey Donaldson (1929-2002). In a previous blog entry we already talked about the archive of the Kinsbergen family which was created from the materials from this particular archive. Another part of the collection which has recently been inventoried consisted of 2 boxes containing 8 binders with material about the British author Henry Rider Haggard. Six of which contained information about films adapted from Haggard's works. Haggard, who is most widely known for his adventure stories set in exotic locations (predominately the jungles of Africa), is widely regarded as one of the first people to popularize the so-called “Lost World” literary genre.

    Henry Rider Haggard was born in Bradenham (Norfolk) on June 22nd 1856 as the eight of ten children. As the son of a barrister he was educated at Ipswich Grammar school and by private tutors. At age 19 he was sent to southern Africa as part of the staff of Sir Henry Bulwer, the governor of the South African province Natal. He was present during the signing of the treaty with the Boers (settlers in that region who had predominately Dutch ancestry) and the annexation of the Transvaal region by the British government. He later became head of his own government department. On August 11, 1880 he married Mariana Louisa Margitson and returned to England after the Transvaal gained independence in 1884. They had four children, one son (who tragically died from measles at age 10) and three daughters who he named after characters from his books. His first commercial success came with his fourth book, “King Solomon’s Mines”, an adventure novel in the vein of Robert Louis Stevenson’s “Treasure Island”. Among his most popular creations were Allan Quatermain, the hero of “King Solomon’s Mines” (and it's sequels), and Ayesha, the title character of his fifth book “She” (the novel that was most frequently adapted to the screen, at least 13 adaptations according to Donaldson).

    Donaldson collected everything he could find about films made from Haggard's books ranging from the earliest silent versions till the most recent film adaptation of "Allan Quatermain", “Allan Quatermain and the Lost City of Gold” (USA, 1987) with Richard Chamberlain and Sharon Stone. The latter a sequel to the 1985 film "King Solomon's Mines" which tried but failed to reach the same level of success as Spielberg's Indiana Jones movies. The meticulously research contained personal notes in which Donaldson gave further details about the cast and crew and discussed whether the film should be considered part of the Haggard filmography. In some cases, as with the Méliès film “La Danse du Feu” (France 1899) he concluded that the film should not be considered as a adaptation of “She”, as some other film historians had suggested.

    Among the materials collected were more than 300 photographs and (vintage) postcards aquired from a number of archives around the world as well as a few original publicity items such as brochures, pressbooks and posters. 

      

     

     

     

     

     

     

     

      

    Donaldson's research included information about some of the more obscure versions of Haggard adaptations such as a Musical version of "She" called "Malika Salomi" (India, 1953) from India and a TV version of "King Solomon's Mines" from South Africa as well as a variety of photographs from lost silent films such as two US films from 1917 "Heart and Soul" and "Cleopatra" starring the famous Vamp Theda Bara.

     

    Those familiar with Dutch silent film might be particularily interested in the Austrian silent film "Die Sklavenkönigin" (1924), a version of the novel "Moon of Israel". One of the stars of the movie was the Chilean actor Adelqui Migliar who is most famous for appearing in a great number of Dutch productions. This connection is quite remarkable given the fact that Donaldson was particularily interested in Dutch film, spoke out against the claim by earlier Dutch filmscholars that the Netherlands had not been very prolific during the silent film era  and is well-known for writing "Of Joy and Sorrow" an indepth filmography about the Dutch silent film period.

     

    Dana Pastor, intern filmrelated collection

     

    silent film, sound film, Geoffrey Donaldson, H. Rider Haggard, stille film, archief, collectie, collection, archive, lost films, adaptation
  • In search of the Ottoman Empire

    dinsdag 23 februari 2016

    Since the summer of 2014, films from EYE collection have been involved in numerous screenings of the project ‘Views of the Ottoman Empire’; a travelling film presentation aiming to discover and put into context archival images pertaining to former territories of the Ottoman Empire. This project grew gradually from the research into the hundred years ago programs and the WWI films, which revealed many short films, seemingly not belonging anywhere specific, but falling into the right place when viewed from the perspective of the Ottoman history and geography. 

    One of the most rewarding aspects of the project (which is always presented live to explain the underlying context) is bringing the films to the places they were originally shot. Screenings in places like Kosovo, Belgrade or Istanbul never fail to move the local audiences, confronting them with their home towns from a century ago. 

    In December 2015, when the project visited Istanbul for the second time, we brought a surprise from EYE: a 1926 film called Les fontaines de Constantinople contains the historic Tophane Fountain that is only 50 meters away from the cinema!

    Tophane fountain in Istanbul (december 2015)

    Since the project also hopes to improve the identification of these often scarcely catalogued images, it can be helpful to show the images to the locals. For example, at EYE we recently found and restored the film Pathé-revue n° 37 – Visions de Yougoslavie (Beelden Uit Yugoslavie, 1926). Despite its overall title referring to Yugoslavia, this compilation film appears to contain images of Istanbul’s Uskudar district (or ‘Scutari’, as referred to on the film); recognizable to the residents of the city (mainly thanks to the monumental Mihrimah Sultan Mosque), but not so obvious to us at EYE, due to the presence of many places called ‘Scutari’ on the Balkan peninsula.

     

    Ottoman Project asserts that the films from these territories, though often considered lost, can actually be found in unexpected places. The film Der Kaiser bei unseren Türkischen Verbündeten, shot by the German Army in 1917 has so far popped up in the Netherlands (EYE/Huis Doorn Collection), Germany (Bundesarchiv), England (Imperial War Museum) and Turkey (Turkish Armed Forces archive held by theTurkish Film and TV institute). Unique footage showing Balkan War refugees camping outside Istanbul’s byzantine walls in 1913 arrived to EYE in 2013 from a private collection. Images of the Armenian orphans in the occupied Istanbul (1918-1923) were found at the Library of Congress in Washington and restored by the Cineteca di Bologna in 2015. Images of the ancient Armenian city of Ani, shot by the Italian cameraman Giovanni Vitrotti in 1911, was found within the collection of the Swiss priest Joye, curently held and restored by the British Film Institute.

    After having visited Istanbul twice (during the 1st and 2nd Istanbul Silent Cinema Days); just as I thought we had run out of Istanbul images at EYE, a new film surfaced within a very recently donated batch of films only a couple of weeks ago: En Promenade Sur Le Bosphore (1928). Although not unique, this particular print is beautifully toned (as opposed to the French version that is b&w). At the moment there are no immediate plans to restore this particular film, but it is clear that the Ottoman project can continue to travel and gradually grow in the coming years.

    Follow the project by liking our Facebook page. Watch the trailer (all footage provided by EYE)

    Elif Rongen-Kaynakçi, Curator of Silent Film

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    Silent cinema, Ottoman, history, archives, discovery, lost&found, nitrate film
  • Special find in the Leonard Henny collection

    woensdag 27 januari 2016

    At the end of last year we began work on the collection of films in our archive by the Dutch documentary filmmaker Leonard M. Henny (4 August 1935 - 17 September 2011), donated to EYE before his death. Henny was a politically engaged filmmaker, what you would call a guerrilla filmmaker, but also a writer and professor with an academic background in sociology and Urban planning. He studied at the University of Amsterdam and the Massachusetts Institute of Technology. He spent much of his life moving between America and Europe, residing in Berlin, Cambridge Massachusetts, San Francisco, St. Louis Missouri, Micronesia and Venezuela. Throughout his life he worked as a professor and researcher at several American and Dutch Universities. During his time at the Sociological Institute of the University of Utrecht he coached various sociology students in documentary filmmaking.

    Henny was interested in the use of film as a tool to depict the elements of social, political and economic change that were taking place throughout America and Europe. He was mostly active as a filmmaker in the 1960s and 1970s. Much of his own work documents the Black Power Movement and the impact of the Vietnam war, both in Vietnam and in the United States. Henny was driven by the belief that film can be used as a platform for engaging people in discussion in order to harness a good understanding and much-needed solidarity with those groups or individuals in society who are oppressed or continually subjected to injustices.  

    “The main purpose of my films is to provide information on social problems from the point of view of people who are confronted with the problems, and who want to change them. In this way, the films provide graphic knowledge, and become a tool for people in universities, schools, churches and community groups to stimulate constructive discussion of the issues of our time…Thus, films provide an opportunity for people to meet with others with similar interests who are willing to engage themselves in efforts to change this world into a better place to live.” Leonard Henny 

    Whilst we were identifying and analysing Henny’s films we came across one film can labelled “Peace Pickets Original”. Within this can we found a fragment of a 16mm film reel which contains silent colour footage of Martin Luther King Jr entering Santa Rita Rehabilitation Centre. The footage, which is in excellent condition, depicts King being driven to the prison in a white car and then cuts to him, presumably upon exiting the prison, getting out of the car and delivering an impromptu speech to a crowd of anti-war protesters. After conducting thorough research on this subject matter we found that Martin Luther King was visiting the prison in Santa Rita on January 14th 1968 in order to visit his friend, the folk singer and activist, Joan Baez.  Baez had been arrested, along with her mother and her sister, for “disturbing the peace” at an anti-Vietnam war demonstration. In Leonard Henny’s film “Peace Pickets Arrested for Disturbing the Peace” - a documentary depicting the early draft resistance demonstrations - there is clear footage of Baez’s arrest. 

     

    The speech King delivered outside the Santa Rita Rehabilitation Centre was recorded by Pacifica Coast Radio and can be found here.

    Footage of an Interview with Joan Baez (courtesy of the San Francisco Bay Area Television Archive) on the day she was released from prison can be found here.

    At this stage we are still researching this important collection with the idea to start preservation on the films, including this special find, in the near future, aiming to generate interest in these rarely seen documents witnessing major social changes of its time. This is now just a first step in this direction and we will come back with updates during the process.

    Simona Monizza, curator Experimental Film & Ruth Sweeney, intern.

     

    Martin Luther King Jr, Leonard Henny, experimental film, experimentele film, Joan Baez
  • Saul Bass affiches tentoongesteld in EYE

    donderdag 21 januari 2016

    De Amerikaan Saul Bass (1920-1996) is een van de beroemdste grafische ontwerpers van de 20ste eeuw. Hij ontwierp markante symbolen op allerlei gebied voor bijv. Minolta, United Airlines en Kleenex. Hij is vooral wereldberoemd en blijvend populair om zijn treffende filmtitelsequenties en filmaffiches. Zijn titelsequenties zijn een samenvatting van de film in enkele minuten, zijn affiches een samenvatting van de titelsequentie in een enkel beeld, vaak met hetzelfde symbool.

    EYE heeft nu een kleine tentoonstelling met 16 affiches van Saul Bass, die twintig jaar geleden overleed. Er bestaat geen complete catalogus van zijn filmaffiches die vaak niet zijn gesigneerd (van deze 16  zijn er slechts 5 gesigneerd), deels omdat maatschappijen zijn gestileerde werk afkeurden en veranderden, zoals toevoeging van stills aan THE MAN WITH THE GOLDEN ARM. Op het affiche voor ROSEBUD resteert van Bass’ ontwerp slechts de titel plus een vuist met mes. Toeschrijving van zijn ongesigneerde werk blijft ook voor zijn biografen een uitdaging. Er is vooral verwarring over films waarvoor hij alleen titelsequenties ontwierp maar geen affiche zoals PSYCHO en WEST SIDE STORY. 
    Zijn grafische filmaffiches hebben een krachtige en heldere stijl met soms slordige letters en tot de essentie teruggebrachte lijnen en figuratieve symbolen in weinig tinten met monochrome vlakvulling (vaak rood zoals hier bij 9 exemplaren) ogenschijnlijk kinderlijk eenvoudig maar trefzeker en onnavolgbaar. Sommige symbolen werden een icoon voor bepaalde films, zoals het lichaam uit ANATOMY OF A MURDER of de arm uit THE MAN WITH THE GOLDEN ARM en veel ander werk vooral voor regisseur Otto Preminger (hier vertegenwoordigd met 9 affiches). Handen werden Bass’ bekendste motief voor talloze titels (hier 8 exemplaren).

    EYE toont onder meer beroemde affiches als VERTIGO (met spiraalvorm voor duizelingen van de hoofdpersoon met hoogtevrees), ANATOMY OF A MURDER (met losse lichaamsdelen), THE MAN WITH THE GOLDEN ARM (met verwrongen arm van de verslaafde hoofdpersoon), ADVISE AND CONSENT (het opengeklapte Capitool onthult geheimen). VERTIGO is bij uitzondering een re-issue uit 1996 want een eerste druk hiervan ontbreekt in de EYE collectie en is nu zeldzaam en daarom zeer prijzig.

    Jan-Hein Bal

     

    Saul Bass, affiche
  • Reunited after almost 60 years

    woensdag 6 januari 2016

    Since the inscription of the Desmet Collection on Unesco's Memory of the World Register in 2011 (actually already in the stages of preparing the application) I have been trying to explain why it is difficult to provide an exact number of the films. Although the collection seems to be a finite entity, it also keeps growing (923 and counting)*. It's hard to tell how many films would make the collection 'complete': it is difficult to establish which films exactly had been distributed by Jean Desmet and thus which ones we are still missing. From the company papers it appears that he considered many items, not necessarily acquiring them all in the end. The fact that the poster and the film holdings only barely overlap, is also curious. Even when we do know for sure that he distributed some titles (based on the company papers), not all film prints were among the collection when it arrived to our archive in 1957. 

     

    Desmet himself had sold parts of his collection, and sometimes these film prints (still bearing the original Desmet company intertitles cards) find their way to our institute through private collectors. This was the case with Tragico Convegno, the 1915 film by Ivo Illuminati that we preserved a couple of years ago. Similarly, over the years, we have received and preserved more films from Desmet's distribution list; such as Loyalty of Sylvia (1912/USA, arrived to us via the Royal Information Services!), or Das Geheimschloss (1914/Germany, found in the year 2000 among thousands of nitrate cans that were privately kept inside the historic city of Haarlem for decades). In such cases, only after examining the print and identifying the contents, we can conclude that we are dealing with a film from the Desmet Collection.

     

    But what happened beginning of December 2015 was unprecedented: a few reels of nitrate (bought in a French flea market) were brought to our archive. One of the reels was still in an original Desmet company film can! It is of course very often that film cans get recycled so having the can does not necessarily mean that its content will also be related to the Desmet Collection. And yet, it was: the can contained the 1909 film Nerone by Luigi Maggi, of which EYE so far only held 12 original stills, received from the Desmet family sixty years ago!
    The Desmet can that arrived to EYE in december 2015
     

     

    So 106 years after its release in the Netherlands, and many decades after being separated from the rest of the Desmet Collection, the film (and the can) are now reunited in our vaults.
    What is going to happen now? First of all, we will be putting the film reel in a new archival film can, so that it can take its permanent place in our vaults. The historic can will go to the film-related collections. The film is not a unique print; several film archives around the world report to have a copy. This means that we will start a research round asking and comparing details, before we can take further action. As part of the Desmet Collection, to have this film preserved is among our prioritites, but it is even more important to do this with all things considered. After all, our print (after so many years of wandering around) may not be complete, or may not be in the greatest condition, and it certainly does not have the original Italian intertitles... So before proceeding, we will dive into international research in order to establish the universal value of what we have. 

    Frame capture from Nerone (1909)

    The significance of the Desmet film can, and particularly the fact that we can still receive such an item after so many years, remains very big; it keeps our hope alive that we can go on finding lost silent films from more than a century ago.

    * Did you know that you can download the 'complete' filmography of the Desmet film titles as published in the book Jean Desmet's Dream Factory (2014) by scrolling down on this page? Of course with the omission of Nerone.

     

    Desmet company film can that was kept in EYE since the donation of the collection in 1957

    The Desmet can contained a reel of Nerone (1909)

    Silent cinema, Desmet Collection, Jean Desmet, ontdekkingen, lost films, discovery, stille film, Desmet Collectie
  • Animatiefilmpjes St.Joost: Archive Overload

    dinsdag 24 november 2015

    Een groep vierdejaars animatiestudenten van de Academie AKV|St.Joost heeft korte geanimeerde teasers gemaakt van ongeveer 1 minuut, waarbij zij zich hebben laten inspireren door de Filmgerelateerde collecties van EYE. In een serie publiceren we hier deze filmpjes, die ook als voorfilm vertoond kunnen worden. Veel van de filmmakers hebben deze blog als vertrekpunt gebruikt bij de keuze voor het onderwerp van hun animatie.

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    In de teaser Archive overload van Guusje Dekker worden verschillende stukken uit de collectie en het archief vertoond, om een indruk te geven van de enorme omvang van EYE's collecties. Guusje over de insteek van het filmpje: "Het beeld van een archief dat ik altijd voor ogen had, was een ruimte met grote eikenhouten boekenkasten en opbergmappen met een muffe geur van het stof. Dikke boeken met vergeelde bladen en dozen met oude kranten. Mijn idee van een archief was een opbergplek waar bijna niemand meer kwam, die verzorgd werd door een oude bibliothecaresse."

    Het archief bleek totaal anders te zijn dan ze verwachtte: "Mijn bezoek aan het EYE filmarchief heeft dit veranderd. Er staan zeker boeken en opbergmappen, maar het archief was juist erg levendig. Er waren veel mederwerkers van jong tot oud die hard aan het werk waren om het archief te ordenen en verzorgen. Graag wilde ik dat het archief net zo levendig overkomt als dat ik het aantrof. De 'oude look' heb ik gekozen om te benadrukken hoe lang het archief al bezig is met materiaal te verzamelen." 

    De stemmen in het filmpje zijn van Yvette Verweij (telefoniste) en tegenspeelster Roxana Van der Meulen. De voice over van Yvette Verweij werd opgenomen in HollandStudio's door Paul Van de Veerendonk. Kijk voor een uitgebreid overzicht van het werk van Guusje Dekker op haar website.

    EYE's animatiespecialist Mette Peters begeleidde het maakproces van alle St. Joost- teasers. Zij schreef eerder een interessant blogartikel over het belang van het conserveren van niet alleen animatiefilms zelf, maar ook het filmgerelateerde materiaal  zoals artwork (waaronder tekeningen en animatiepoppetjes) en documentatie. De varieteit aan materialen die voor dit soort films worden gebruikt, uiteenlopend van plastic, metaal, hout, textiel en gevonden objecten, die niet altijd even makkelijk houdbaar zijn- zoals te zien aan onderstaand poppetje- zorgt hierbij voor een grote uitdaging.

    Aladdin artwork

     

    animatie, AKV/St.Joost, archief
  • Animatiefilmpjes St. Joost: Open up

    dinsdag 17 november 2015

    Een groep vierdejaars animatiestudenten van de Academie AKV|St.Joost heeft korte geanimeerde teasers gemaakt van ongeveer 1 minuut, waarbij zij zich hebben laten inspireren door de Filmgerelateerde collecties van EYE. In een serie publiceren we hier deze filmpjes, die ook als voorfilm vertoond kunnen worden. Veel van de filmmakers hebben deze blog als vertrekpunt gebruikt bij de keuze voor het onderwerp van hun animatie.

    "Het archief van EYE is eigenlijk een verborgen schat," vertelt Shivon Koopman, de maker van de teaser Open up. "Die wordt in het filmpje geopend word en te zien is voor iedereen. Iedereen die van films houdt zou de collecties eens moeten bekijken. Dit probeer ik weer te geven door de posters uit die donkere kist te halen en te laten zien dat de collecties voor iedereen beschikbaar zijn."

    Met behulp van digitale cut-out bouwde hij de beelden op uit verschillende afbeeldingen. Op de achtergrond zijn twee nummers van Kevin MacLeod te horen: 'Open your bright eyes' en 'Laendler in C minor Hess 68'.

  • Animatiefilmpjes St. Joost: Een zee van informatie

    dinsdag 3 november 2015

    Een groep vierdejaars animatiestudenten van de Academie AKV|St.Joost heeft korte geanimeerde teasers gemaakt van ongeveer 1 minuut, waarbij zij zich hebben laten inspireren door de Filmgerelateerde collecties van EYE. In een serie publiceren we hier deze filmpjes, die ook als voorfilm vertoond kunnen worden. Veel van de filmmakers hebben deze blog als vertrekpunt gebruikt bij de keuze voor het onderwerp van hun animatie.

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    Sophie Neeleman was onder de indruk van de enorme omvang van de archieven van EYE en maakte met affiches, bladmuziek, foto's en scripts het filmpje Een zee van informatie/ EYE EYE Captain. De zee is een metafoor voor de grote hoeveelheid materiaal, en de archivaris is de schipper die hierop vaart: “In de eindeloos lijkende zee aan film-parafernalia weet de EYE-Kapitein (archivaris) alles te vinden. Hij weet wat er onder het wateroppervlak voor waardevols schuilgaat. Hij kent de beste visgronden op zijn duimpje en brengt je precies bij de goede school. De Kapitein helpt je op je zoektocht naar die ene speciale vangst waar jij naar speurt.”

    De teaser is gemaakt met een collagetechniek. Allerlei verschillende onderdelen zijn getekend, gefotografeerd, geknipt en geplakt. Wil je meer weten over het werk van Sophie? Kijk dan op haar website.

     

    animatie, AKV/St.Joost
  • Affiches EYE in tentoonstelling Magnum on Set

    donderdag 22 oktober 2015

    Liz Taylor op de set in Suddenly Last Summer (1959),
    foto Burt Glinn

    Met zijn nieuwe film Life portretteert fotograaf en filmmaker Anton Corbijn de vriendschap tussen Magnumfotograaf Dennis Stock met het jong overleden filmicoon James Dean. Dat Stock samen met velen van zijn collega’s van het beroemde Parijse fotoagentschap veel op filmsets rondliep en daarmee een fascinerend inkijkje gaf achter de schermen van die glamourwereld, is te zien in de tentoonstelling Magnum On Set in het Gemeentemuseum Helmond. EYE stelde hiervoor enkele filmaffiches beschikbaar.

    De jaren vijftig en zestig waren de hoogtijdagen van de stillfotografie in Hollywood. Voor films als The Seven Year Itch (1955), Rebel without a Cause (1955), Zabriskie Point (1970) en Planet of the Apes (1968) werden Magnumfotografen voor grote bedragen ingehuurd. De opnames van The Misfits (1961) werden zelfs door negen fotografen vastgelegd.

    James Dean en Natalie Wood op de set van Rebel Without a Cause (1955), foto Dennis Stock

    De Magnumfotografen konden met hun artistieke blik bijzondere foto’s maken, met name op momenten tussen de opnames door, waar de filmsterren zoals Marilyn Monroe, Buster Keaton, Elizabeth Taylor en Romy Schneider ongedwongen ‘gevangen’ konden worden. Vanaf de jaren zeventig kwam hier een einde aan door de komst van vaste stillfotografen in dienst van de filmmaatschappijen.

    Affiche Rebel Without a Cause (Nicholas Ray, VS, 1955)

    Magnum Photos werd in 1947 opgericht door Robert Capa en onder andere Henri Cartier-Bresson. Capa opende ook de deuren naar de Hollywoodsets, waar hij al in de jaren veertig was beland door zijn vriendschap met John Huston en affaire met Ingrid Bergman. 

    Er hangen in totaal maar liefs 18 affiches van EYE in de expositie, waaronder deze hiernaast van de legendarische James Deanfilm Rebel Without a Cause. Naast wegdromen bij de glamoureuze foto’s en filmposters kun je je in de tentoonstelling ook in comfortabele bioscoopstoelen nestelen voor een filmklassieker.
    still, affiche

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