1. Trailer for the new movie by the Lumière Brothers "Arrival of a Train at La Ciotat" (1895).

    SPOILERS ALERT!

    # vimeo.com/125563824 Uploaded 67 Plays 2 Comments
  2. Audiovisual Essay made by Sophie Bömer, Yarin Jedamzik, Lena Lachnit & Michael Winkler

    Used sources
    Bibliography
    Blümlinger, Christa (2009): Kulturen der Aneignung – Fragen des Films. In: dies.: Kino aus zweiter Hand. Zur Ästhetik materieller Aneignung im Film und in der Medienkunst. Berlin: Vorwerk 8, 13-61.

    Grant, Catherine (2014): The Shudder of a Cinephiliac Island? Videographic Film Studies Practice as Material Thinking. In: aniki. Portugese Journal of the Moving Image 1/14. Web-source: [http://aim.org.pt/ojs/index.php/revista/article/view/59/html]; last access: 14/02/2015.
    Keathley, Christian (2011): La caméra-stylo. Notes on Video Criticism and Cinephilia. In: Klevan, Alex (Hg.): The Language and Style of Film Criticism. London: Routledge, 176-191.
    Kirchmann, Kay (2006): Bildermüll und Wiederverwertung. Eine medientheoretische Perspektive auf
    Formen und Funktionen des Bilderrecyclings im Found-Footage-Film. In: Koebner, Thomas/Meder, Thomas (Hrg.): Bildtheorie und Film. München: edition text + kritik, 497-512.

    Kuhn, Virginia (2012): The Rhetoric of Remix. In: Transformative Works and Culture 9/12. Web-source: [http://journal.transformativeworks.org/index.php/twc/article/view/358/279]; last access: 14/02/2015.

    López Álvarez, Cristina/Martin, Adrian (2014): The One and the Many: Making Sense of Montage in the Audiovisual Essay. Web-source: [http://reframe.sussex.ac.uk/audiovisualessay/frankfurt-papers/cristina-alvarez-lopez-adrian-martin/]; last access: 14/02/2015.

    Internet-sources
    Empireonline.com: Features. Web-source: [http://www.empireonline.com/features/edgar-wright-simon-pegg-cornetto-trilogy]; posted: 2014; last access: 14/02/2015.
    thedissolve.com: Features/The Conversation. Web-source: [http://thedissolve.com/features/the-conversation/109-why-the-worlds-end-is-the-most-complex-of-the-corn/]; posted: 26/08/2013; last access: 14/02/2015.
    Screenrant.com: Movie News. Web- source: [http://screenrant.com/worlds-end-hot-fuzz-shaun-of-the-dead-easter-eggs-spoilers/]; posted: 2014, last update: 16/02/2014; last access: 14/02/2015.
    Radiotimes.com: News. Web-source: [http://www.radiotimes.com/news/2013-07-19/simon-pegg-the-worlds-end-is-4-million-shy-of-double-what-hot-fuzz-cost]; posted: 19/07/2013; last access: 14/02/2015.
    Moviepilot.de: News. Web-source: [http://www.moviepilot.de/news/eine-kurze-geschichte-der-cornetto-trilogie-124780]; posted: 14/09/2013; last access: 14/02/2015.
    Uk.ign.com: Videos 2013-06-24. Web- source: [http://uk.ign.com/videos/2013/06/24/the-worlds-end-the-three-flavours-cornetto-trilogy]; posted: 24/06/2013; last access: 14/02/2015.
    Films
    SHAUN OF THE DEAD (Shaun of the Dead, GB 2004, Edgar Wright)
    HOT FUZZ (Hot Fuzz, GB 2007, Edgar Wright)
    THE WORLD’S END (The World’s End, GB 2013, Edgar Wright)

    Audio
    The Blue Wrath – I Monster
    Dancing with de Devil – Hot Fuzz Soundtrack
    Alabama Song – The Doors
    If you leave me now – Chicago

    Programs
    Adobe Premiere
    VLC Media Player
    XMedia Recode

    # vimeo.com/120568168 Uploaded 82 Plays 0 Comments
  3. Battleship Cliché-kin
    Introduction
    A riot and the later highjacking of a battleship, a massacre on the coasts of Odessa and a fight between two battleships that ends happily are headlines that just scream epic war film, which is in a way what Eisenstein’s work was meant to be: a film to fill the hearts of young Soviet citizens with a revolutionary spirit. But it is hard to say that it appeals in the same way nowadays.
    War films have changed throughout the years and as expected after 90 years such films feel a whole lot different. That is why we want to reimagine Battleship Potemkin as if it was influenced or even directed by other directors more popularly known today.
    This small trailer is to be seen as one with an essayistic essence, abstracting itself from the idea that films are static and emphasizing single aspects that compose a genre. A synthesis between Eisenstein's original work, other director’s works and our own conception of clichés is what this trailer came up to be. In a way we ended up judging Eisenstein’s and other director’s work with their own.
    In the Cambridge Dictionary Online Cliché is defined “an idea or expression that has been used too often and is often considered a sign of bad writing or old-fashioned thinking.

    Filmic Sources:
    Battleship Potemkin, Sergei Einstein 1925
    Foreign Correspondant, Alfred Hitchcock 1940
    Bananas, Woody Allen 1971
    The Godfather, Francis Ford Coppola 1972
    Love & Death, Woody Allen 1975
    The Untouchables, Brian De Palma 1987
    Naked Gun 33 1/2, Peter Segal 1994
    Brazil, Terry Gilliam 1985

    Music
    The Sacred War - Alexander Vasilyevich Alexandrov 1941

    # vimeo.com/125253758 Uploaded 50 Plays 0 Comments
  4. Tatort „Im Schmerz geboren“ – Ein Remix?

    Ein Video-Essay von Lena Eisinger, Mirjam Feibusch, Leonie Karnowsky, Laura Ricker und Ina Sander

    Everything is a remix, alle Filme sind nur endlose Wiederholungen und Kombinationen von bestehenden Filmen, Büchern, Geschichten und Spielen – das behauptet zumindest Kirby Fergusson in seinem gleichnamigen Video-Essay. Ob dies auch für den ungewöhnlichen Tatort „Im Schmerz geboren“ zutrifft, auf welche Art und Weise Filme überhaupt remixen und ob ein remix bloß eine einfallslose Kopie von etwas Bestehendem ist oder tatsächlich etwas Neues kreiert – all das soll dieses Video-Essay untersuchen.

    Originalfilme:

    A Clockwork Orange
    Uhrwerk Orange, Großbritannien, 1971, Stanley Kubrick

    Apocalypse Now
    USA, 1979, Francis Ford Coppola

    C'era una volta il West
    Spiel mir das Lied vom Tod, USA/Italien, 1968, Sergio Leone

    Das Leben der Anderen
    Deutschland, 2006, Florian Henckel von Donnersmarck

    Der Besuch der alten Dame
    BRD, 1959, Ludwig Cremer, nach einem Stück von Friedrich Dürrenmatt (1956)

    Django Unchained
    USA, 2012, Quentin Tarantino

    Fear and Loathing in Las Vegas
    USA, 1998, Terry Gilliam

    Im Schmerz geboren
    Deutschland, 2014, Florian Schwarz

    Jules et Jim
    Jules und Jim, Frankreich, 1962, François Truffaut

    Pulp Fiction
    1994, USA, Quentin Tarantino

    Sin City
    USA, 2005, Robert Rodriguez/Frank Miller/Quentin Tarantino

    The Merchant of Venice
    Der Kaufmann von Venedig, England/Italien/Luxemburg, 2004, Michael Radford

    The Silence of the Lambs
    Das Schweigen der Lämmer, USA, 1991, Jonathan Demme

    The Wild Bunch
    The Wild Bunch - Sie kannten kein Gesetz, USA, 1969, Sam Peckinpah

    Literatur

    Shakespeare, William: Tragedy of Hamlet, Prince of Denmark. (Die Tragödie von Hamlet, Prinz von Dänemark) ca. 1603.

    Shakespeare, William: The Tempest. (Der Sturm), ca. 1623.

    Musik

    Edvard Grieg
    Holberg Suite, op 40 – Rigaudon

    Georges Delerue
    Jules et Jim - Brouillard Version 1

    Gioachino Rossini
    La Gazza Radra - Overture

    Giuseppe Verdi
    Nabucco - Overture

    Giuseppe Verdi
    Nabucco, Akt 3, Szene 2 (Israelitenchor)

    Johann Sebastian Bach
    Eine Goldberg Variation

    Ludwig van Beethoven
    Coriolan, op. 62

    Richard Wagner
    Walkürenritt

    Vivaldi
    Concerto for Two Violins & Cello in D, RV 565

    # vimeo.com/126473692 Uploaded 243 Plays 0 Comments
  5. Introduction
    This Video Essay focuses on the stereotype of blondes being stupid and uneducated. By showing examples from films, it should become clear why the stereotype of blondes does exist in society and why it is still present. We will show how these stereotypes are produced through film and come to the conclusion, how and why these stereotypes are often revised. Therefore, the image of the blonde woman in film will become easier to analyze.

    Film sources:
    27 Dresses (USA, 2008, Anne Fletcher)
    Bad Teacher (USA, 2011, Jake Kasdan)
    Baywatch (USA, 1989-2001, Michael Berta Douglas Schwartz, Gregory J. Bonann)
    The Seven Year Itch (USA, 1955, Billy Wilder)
    High School Musical 3: Senior Year (USA, 2008, Kenny Ortega)
    The Great Gatsby (USA/AUS, 2013, Baz Luhrmann)
    Sex and the City 2 (USA, 2010, Michael Patrick King)
    Legally Blonde (USA, 2001, Robert Luketic)
    The Princess Diaries (USA, 2011, Garry Marshall)
    Pillow Talks (USA, 1959, Michael Gordon)
    The Wolf of Wall Street (USA, 2013, Martin Scorsese)
    Taxi (FR, 1998, Grérard Pirès)
    Hope Springs (USA, 2003, Mart Herman)
    Hancock (USA, 2008, Peter Berg)
    Mad Dog Morgan (AUS, 1976, Philippe Mora)
    Bridget Jones’s Diary (GB/IRL/FR, 2001, Sharon Maguire)
    The Holiday (USA, 2006, Nancy Meyers)
    The Big Lebowsky (USA/GB, 1998, Joel Coen)
    Gentlemen Prefer Blondes (USA, 1953, Howard Hanks)
    Le Mépris (F/I, 1963, Jean-Luc Godard)
    To Catch a Thief (USA, 1955, Alfred Hitchcock)
    Fantastic Four (USA/DE, 2005, Tim Story)
    Mamma Mia! (USA/GB/DE, 2008, Phyllida Lloyd)
    Der sanfte Tod (DE, 2014, Alexander Adolph)

    Made by:
    Pascal Ertl
    Nancy Gräfe
    Andreas Spielmeyer
    Lara Thiele
    Anna Zapf

    # vimeo.com/127479549 Uploaded 186 Plays 0 Comments

Medienwissenschaft, Philipps-Universität Marburg

Medienwissenschaft Marburg

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