Webdoc & Formazione

Molto interessante anche "Visual Storytelling in the Age of
Post-Industrialist Journalism" (da p. 35) http://bit.ly/15fkSbv 

Aloha,

Zie hieronder een recensie uit the New York Times (d.d. 30 april) van Roberto Rossellini’s klassieke film “Viaggo in Italia” (1954), die de

inspiratie was voor “Het Geheim van de Saramacca Rivier” (2007), de derde lange filmproductie van Stichting de Surinaamse Film Academie (SFA),

die op maandag 20 mei a.s. met Engelse ondertitels vertoond zal worden in Havana, Cuba, als onderdeel van een workshop/voordracht van

ontwerper-regisseur Pim de la Parra voor de filmstudenten van het Instituto Superior de Artes, getiteld: “Low budget filmmaking in the Caribbean”.

+  Een Persbericht volgt binnenkort.

George Sanders and Ingrid Bergman in "Voyage to Italy," directed by Roberto Rossellini.

By A. O. SCOTTPublished: April 30, 2013  FacebookTwitterGoogle+SaveE-mailSharePrintReprints

The 1950s are full of movies that were initially greeted, by critics and audiences, with indifference or derision, only to be hailed as masterpieces in hindsight. “Vertigo,” “The Searchers” and “The Sweet Smell of Success” are among the best-known examples of this kind of revisionism. Another, only slightly less famous, is Roberto Rossellini’s “Viaggio in Italia,” a film so maligned and neglected in 1955, the year of its American release, that it did not receive a review in The New York Times.

More About This MovieOverviewTickets & ShowtimesNew York Times ReviewCast, Credits & AwardsReaders' Reviews  

Better late than never. A restored digital version of “Voyage to Italy” (one of several English titles that have been used over the years) begins a nine-day run at Film Forum on Wednesday, which seems as good an occasion as any to update the critical record. As it happens, the treachery of time — the unwelcome intrusion of the past, the empty languor of the present, the terrifying uncertainty of the future — is one of Rossellini’s themes, and part of what makes this film, for all its charming glimpses of a bygone era, feel so unnervingly contemporary.

Its failure no doubt had something to do with the scandal that embroiled the movie’s director and its star, Ingrid Bergman, and also with the ideological volatility of Italian cultural life. In 1948, after seeing “Paisan” and “Rome: Open City,” Bergman wrote Rossellini a letter offering her services if he should “need a Swedish actress who speaks English very well.” While making “Stromboli,” they began an affair that ended both of their marriages and provoked the highly selective moral outrage of the American press. In his own country, Rossellini was attacked less for marital infidelity than for betraying the cause of neorealism, allowing his camera to stray from local social problems to Hollywood stars.

And yet the reality of postwar Italy is very much visible in “Voyage,” as is a strong intimation of the direction of Italian cinema in the coming years. The film follows Katherine and Alex Joyce (Bergman and George Sanders), a British couple who arrive in Naples to sell a piece of property belonging to a recently deceased and highly enigmatic relative known as Uncle Homer. That business transaction is never concluded, and is in any case a distraction from the luxurious stasis that envelops Alex and Katherine, a state that might be described as a blend of ennui and la dolce farniente.

The two languish for a while at a hotel and at Uncle Homer’s villa, where the frosty state of their relations fails to melt in the Mediterranean sun. Katherine spends her days sightseeing in the Museum of Archaeology and experiencing a tremor of anxiety at the Cave of the Cumaean Sibyl. Alexander takes an excursion to Capri, where he flirts and socializes.

Sanders later complained that “the story of the film was never understood at any time, by anyone, least of all the audience when the picture was released.” And he had a point, even though he may have missed Rossellini’s. “Voyage” is not driven by the usual machinery of plot and exposition, but rather by a succession of moods, an emotional logic alternately reflected and obscured by the picturesque surroundings. The rich symbolism of the Italian landscape — the volcanic pools at Vesuvius, the ruins of Pompeii, the vistas that have stirred the imagination of artists at least since Virgil — makes the emptiness of the Joyces’ marriage all the more palpable and painful. Their emotional and spiritual sterility contrasts with the fertility signified by the baby carriages and pregnant women Katherine encounters every time she ventures into Naples, and also by the religious procession of the film’s devastating final scene.

Rossellini’s way of dissolving narrative into atmosphere, of locating drama in the unspoken inner lives of his characters, anticipates some of what Michelangelo Antonioni would do a few years later in “L’Avventura.” “Voyage to Italy” is thus in the vanguard of what Pauline Kael would disparagingly call “come-dressed-as-the-sick-soul-of-Europe parties.” Some of us will never tire of those soirees, with their black-tied gloom and elegant suffering, and will therefore relish the beauty and melancholy of this voyage, along with its touristic snapshots and heart-tugging Neapolitan songs.

The Joyces, though their manners and modes of dress mark them as creatures of another, perhaps more refined age, are immediately recognizable in their loneliness, their cynicism and their thwarted desire to connect and to feel. It may be too late. “Voyage to Italy” takes place in a series of simultaneous aftermaths — of World War II, of a glorious ancient civilization, of Uncle Homer’s wild life, of whatever passion once united Katherine and Alex. And yet amid all this exhaustion it finds signs of vitality. In its time, this film represented the arrival of something new, and even now it can feel like a bulletin from the future.

Voyage to Italy

Opens on Wednesday in Manhattan.

Directed by Roberto Rossellini; written by Vitaliano Brancati and Roberto Rossellini; director of photography, Enzo Serafin; edited by Jolanda Benvenuti; music by Renzo Rossellini; set design by Piero Filippone; costumes by Fernanda Gattinoni; produced by Adolfo Fossataro, Alfredo Guarini, Roberto Rossellini, Sveva-Junior and Italiafilm-SEC; released by Janus Films. At Film Forum, 209 West Houston Street, west of Avenue of the Americas, South Village. Running time: 1 hour 37 minutes. This film is not rated.

WITH: Ingrid Bergman (Katherine Joyce), George Sanders (Alexander Joyce), Maria Mauban (Marie), Anna Proclemer (the Prostitute), Paul Müller (Paul Dupont), Leslie Daniels (Tony Burton), Natalia Ray (Natalie Burton) and Jackie Frost (Betty).

 A version of this review appeared in print on May 1, 2013, on page C6 of the New York edition with the headline: Revisiting a Rossellini Classic to Find Resonances of Today.

Such a great concept!  I'm a big fan of Hackathon's in general ... and transmedia hackathons in particular.

some unexpected moments....

On aime ou pas...

Crossmedia and stories as tools for social change can have far-reaching impact on children and young adults around the world.

This is a nice set of tools, and I especially like the advice: "...they must be built on you and your ideas. A truly remarkable explanation cannot depend on software alone."

One more piece by Arnau Gifreu Castels.

Ever since I came across Robin's Scoop.it site I have found some top knotch resources.  When educators are looking to integrate video projects into their curriculum, one must consider what time may be needed outside of class to complete the work.  Well, here is one video option that works on multiple platforms.  Thus, enabling students to work on projects at home as well as school. 

MakeUseOf :: Adobe Premiere. Final Cut Pro. Sony Vegas. AVID. All of these are high-end video editors that all have one attribute in common: they cost money. In an ideal world, there would be an equally high-end freeware video editing system out there. Unfortunately, most of the “editors” that do make these claims are embarrassingly poor and of little to no use.

However,  Shotcut may be a shining star in the world of free video editors. It’s an open-source, cross-platform editing system that is incredibly intricate, and it’s loaded with an arsenal of features so hot that they will melt your face off. More appropriately, Shotcut is a freeware video toolkit that is actually useful and won’t hold you back.

Shotcut offers basic cutting and trimming capabilities along with a zillion different codecs available for export. For the record, these are professional-level file formats, and you could even use Shotcut as a higher-end file converter from time to time, if needed. Also included is the ability to perform basic color correction with a three-wheel user interface, an eyedropper tool for post-production white balancing, and a few filters to choose from.

On the input side of things, Shotcut can receive footage via SDI, HDMI, and more. Timecode is supported, and the app will typically allow for native editing. Simply put, Shotcut is a fantastic piece of software to keep in your editing suite. I wouldn’t recommend it as your go-to editor, but it definitely has a place in the video production world.

To install, simply extract the archive and run it. You can drag the Shotcut folder (app icon for OS X) to copy and move it wherever you want.

ReviewStudio is a web-based collaborative app which allows you to upload video clips, PDF and image files that you want to be checked, commented and criticized by other people (teammates, clients, etc.).

ReviewStudio lets you annotate, markup, comment and review/approve any type of visual work, including frame-precise annotation on video footage.

File formats supported:

• Images – PNG, JPEG and GIF
• Single and multipage PDF files
• Video – mp4, mov, ogg, webm, flv, avi, wmv, asf
• MP3 Audio files.

With ReviewStudio it is possible to run live collaborative review sessions and to maintain a complete, searchable record of all content-related communications and activities that take place over the course of a project.

Formerly known as Cozimo, ReviewStudio is a very effective collaborative reviewing tool, providing an good set of markup tools and features that facilitate and speed-up the review and approval task.

Free 15-day trial available.

More info: https://www.reviewstudio.com/

Tutorial videos: https://www.reviewstudio.com/videos.php

FAQ: https://www.reviewstudio.com/help.php

Pricing: https://www.reviewstudio.com/pricing.php

#collaboration

Looking for an easy way to make HTML 5 animated presentations, interactive infographics, and more?

If so, try out Easy Web Content Presenter. It comes with almost everything you'd need, and it works directly in a browser, so there is no need to download any files.

An added bonus, because it’s HTML 5, everything created works on mobile devices.
Although still in Beta, there are a number of templates are available.
With a very small learning curve, it will take little time to get everything up and running.

Here it is! Jesse Shapins and James Burns from Zeega at TFI Interactive 2013

'the build film' interactive documentary by instrument agency

instrument, an independent digital creative agency based in portland, oregon has launched an interactive documentary titled 'the build.'
the film portrays the values and culture of the local motorcycle builder community in portland, told through the personal stories of three
bike builders. shot during the fall and winter of 2012, the movie captures the cyclist enthusiasts in iconic oregon locations including the 
gorge, mt. hood and downtown portland, as well as their own workshops. blending design and technology in groundbreaking ways, 
the project pairs traditional filmmaking with new school interactive experiences that push the envelope of current browser technologies 
like webgl and html5 video. 'the build' combines the efforts of instrument’s resident filmmaker, truen pence, creative director, martin linde, 
and many dedicated members of the team.

A significant list of tools to support the creative process as well as some resource links to provide background knowledge.

Excellent blog lots and lots of tools here. Enjoy browsing.

Wideo, provides a simple way to create animated videos.
Using Adobe Flash users can create simple animations with text, shapes and in-built characters.

By using keyframes, it’s possible to move elements around the screen, zoom and change other attributes.

The service is still in beta, so bear that in mind if you’re experiencing any issues.
Wideo lets practitioners and learners create fun, animated videos in record time.

Great way to turn Power Point presentations into YouTube videos using Prezi!

Great tool for mind-mapping but only 1 is free with no sign up and no registration. If you subscribe, it costs $5.75 per month. 

one is free