Locarno dressed as San Francisco, Piazza Grande that extends itself to look like Union Square.
When you’re facing Walter Murch and a Revox, you know right away that something unique is coming.
Sounds, reverberations, knowledge, insights. The rest is silence.
Walter Murch recieved the Vision Award – Nescens.
directed by Niccolò Castelli
Alessandro De Bon
Riccardo De Giacomi
Festival del Film Locarno
With a special thanks to Mr. Walter Murch, Carlo Chatrian and all the staff of the Festival del film Locarno.
"limbic" ist ein Visual Music Clip zum Thema emotionaler Verarbeitung von Musik im limbischen System und den daraus resultierenden Reaktionen am Körper, den sogenannte Chills. Musikalische Attribute wie die Verletzung von Erwartungen, der Beginn von etwas Neuem, ein neuer Einsatz oder wiederkehrende Muster führen hierbei bewiesenermaßen häufiger zu Chills. Diese können sich u.a. in erhöhter Herzfrequenz, zuckende Gesichtsmuskulatur, schwitzigen Händen oder eben der bekannte Gänsehaut äußern. Inwiefern Chill-Erlebnisse Bestandteil der evolutionären und/oder kulturellen Entwicklung sind wird im Film thematisiert.
"limbic" entstand im Rahmen der Fachprüfung Bild 2 bei Prof. Dr. Heike Sperling und Andreas Kolinski.
Musik: Johannes M. Arend (jmarend.de). Konzept und Realisation: Manfred Borsch (mfred.net)
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"limbic" is a Visual Music clip which reflects the emotional processing of music in the limbic system and the resulting reactions of the body (the so-called "chills"). It has been proved that musical attributes like the violation of expectations, the beginning of something new, a new cue or a recurring pattern are more often leading to chills. Those can be expressed, among other things, through a higher heart rate, twitching facial muscles, sweaty hands or even the well-known goose bumps. The film discusses how far chill-experiences are part of the evolutionary and/or the cultural development.
"limbic" was produced as a Video 2 exam for Prof. Dr. Heike Sperling and Andreas Kolinski.
Music: Johannes M. Arend (jmarend.de). Concept and realization: Manfred Borsch (mfred.net).
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Transcript for Closed Captioning
Ken Burns On Story Transcription
You know the common story is one plus one equals two, we get it. But all stories are really, the real genuine stories, are about one and one equaling three. That’s what I’m interested in.
We live in a rational world where absolutely we’re certain that one and one equals two, and it does. But the things that matter most to us, some people call it love, some people call it God, some people call it reason, is that other thing where the whole is greater than the some of its parts, and that’s the three.
Oh great story, they are everywhere. There are millions of them! Abraham Lincoln wins the Civil War and then he decides he’s got enough time to go to the theater. That’s a good story. When Thomas Jefferson said we hold these truths to be self-evident, that all men are created equal, he owned a hundred human beings and never saw the hypocrisy, never saw the contradiction, and more important, never saw fit in his lifetime to free any one of them. That’s a good story. You know the stories that I like to tell are always interesting because the good guys have really serious flaws and the villains are very compelling. My interest is always in complicating things.
Jean Luc Goddard said cinema is truth 24 times a second. Maybe. It’s lying 24 times a second too, all the time, all story is manipulation. Is there acceptable manipulation? You bet. People say oh boy, I was so moved to tears in your film. That’s a good thing? That was, I manipulated that. That’s part of storytelling. I didn’t do it dis-genuinely, I did it sincerely, I am moved by that too, that’s manipulation. Truth is we hope a byproduct of the best of our stories and yet there are many, many different kinds of truths and an emotional truth is something that you have to build.
I made a film on baseball once and it seemed to me that there was a dilemma for the racist of what to do about Jackie Robinson. If you were a Brooklyn Dodger fan and you were a racist, what do you do when he arrives? You can quit baseball all together, you can change teams, or you can change. And I think that the kind of narrative that I subscribe trusts in the possibility that people could change. I hope it’s a positive version of manipulation, but I do think that we do coalesce around stories that seem transcendent.
I don’t know why I tell stories about history I mean there’s kind of classic dime-store Ken Burns wolf-at-the door things, my mother had cancer all of my life, she died when I was 11, there wasn’t a moment from when I was aware, two-and-a-half, three, that there was something dreadfully wrong in my life. It might be that what I’m engaged in, in a historical pursuit is a thin layer perhaps thickly disguised waking of the dead, that I try to make Abraham Lincoln and Jackie Robinson and Louis Armstrong come alive and it maybe very obvious and very close to home who I’m actually trying to wake up. We have to keep the wolf from the door, you know, we tell stories to continue ourselves. We all think an exception is going to be made in our case and we’re going to live forever, and being a human is actually arriving at the understanding that that’s not going to be, story is there to just remind us that it’s just okay.
"We're not good at everything, we're not good by ourselves," says Simon Sinek at the 99% Conference. Our ability to build trust and relationships is the key to our survival as a race, and to thriving as ideamakers.
The movie "We All Want to Be Young" is the outcome of several studies developed by BOX1824 in the past 5 years. BOX1824 is a Brazilian research company specialized in behavioral sciences and consumer trends.
This movie has an open license by Creative Commons.
Written and directed by Lena Maciel, Lucas Liedke and Rony Rodrigues.
tags. youth millennials generation Y baby boomers consumer trends research
// check out the response video by our friends EnovateChina about chinese youth: vimeo.com/21426600