2. Martin Scorsese, Letter to his daughter 7/1/14
Dearest Francesca,
I don’t think I’m being pessimistic when I say that the art of cinema and the movie business are
now at a crossroads. Audio-visual entertainment and what we know as cinema – moving pictures
conceived by individuals – appear to be headed in different directions. In the future, you’ll
probably see less and less of what we recognize as cinema on multiplex screens and more and
more of it in smaller theaters, online, and, I suppose, in spaces and circumstances that I can’t
predict.
So why is the future so bright? Because for the very first time in the history of the art form,
movies really can be made for very little money. This was unheard of when I was growing up, and
extremely low budget movies have always been the exception rather than the rule. Now, it’s the
reverse. You can get beautiful images with affordable cameras. You can record sound. You can
edit and mix and color-correct at home. This has all come to pass.
But with all the attention paid to the machinery of making movies and to the advances in
technology that have led to this revolution in moviemaking, there is one important thing to
remember: the tools don’t make the movie, you make the movie. It’s freeing to pick up a camera
and start shooting and then put it together with Final Cut Pro. Making a movie – the one you
need to make - is something else. There are no shortcuts.
This isn’t just a matter of cinema. There are no shortcuts to anything. I’m not saying that
everything has to be difficult. I’m saying that the voice that sparks you is your voice – that’s the
inner light, as the Quakers put it.
That’s you. That’s the truth.
Mittwoch, 26. Februar 14
3. The Age of Screens
Denken Sie nicht mehr nur an die eine grosse Leinwand im Kino!
Sondern an die vielen Screens, die unser Leben heute begleiten.
Smartphones, Laptops, Desktop Computer, Tablets, Public Screens, TVBildschirme.
Vor all diesen Bildschirmen ist Publikum mit dem Wunsch auf
Zerstreuung, Unterhaltung, Information, Kommunikation.
Mittwoch, 26. Februar 14
5. - 246.424 Minutes of Classical Music
- 18.962 Visitors
- from Russia 1.693
- Japan 1.596
- USA 869
- Italy 747
- Southkorea 684
Mittwoch, 26. Februar 14
6. - 246.424 Minutes of Classical Music
- 18.962 Visitors
- from Russia 1.693
- Japan 1.596
- USA 869
- Italy 747
- Southkorea 684
Mittwoch, 26. Februar 14
7. - 246.424 Minutes of Classical Music
- 18.962 Visitors
- from Russia 1.693
- Japan 1.596
- USA 869
- Italy 747
- Southkorea 684
Mittwoch, 26. Februar 14
8. Begriffe
Multimedia: Eine Kombination von verschiedenen Medientypen in
einem Paket, z.B. Webseiten mit Text, Video, Animation, Grafik.
Interaktivität: 1. Dialog zwischen Mensch und Computerprogramm
2. Dialog findet (fast) simultan statt 3. Publikum hat ein wenig
Kontrolle, welchen Mediencontent es in welcher Reihenfolge sieht.
Crossmedia: Die Storyworld von Filmen und TV-Formaten wird
medial auf unterschiedlichen Plattformen erweitert und
variantenreich erzählt.
Storyworld: Tiefe der Charaktere einer Story und ihrer Beziehungen
zueinander; der Plot; Handlungsstränge
Transmedia: Eine Erzählung erschaffen, die zu gross für ein einzelnes
Medium ist. Zuschauer sind gleichzeitig Jäger und Sammler.
Mittwoch, 26. Februar 14
9. Stories and Moving Images for Shared Screens
Storytelling is the essence of future television, linear
or non-linear.
With production, distribution and reproduction available at low cost, television
has liberated itself.
Storytelling will become more social and more interactive.
Movies & TV content will lose its fixed form and become more fluid. It will appear
in a range of lenghts and formats on various media platforms, including mobile.
Trusted content communities: Viewers trust journalists,
documentary film makers and artists, follow and support them online.
Distribution will expand, cross borders and find new forms.
Mittwoch, 26. Februar 14
12. The model of convergence
„The model of convergence includes the flow of content across multiple
media platforms, the cooperation between multiple media industries,
and the migratory behavior of media audiences who will go almost
anywhere in search of the kinds of entertainment experiences they want.
Convergence occurs within the brains of individual consumers and
through their social interactions with others.“
Henry Jenkins, 2006
Mittwoch, 26. Februar 14
13. „Television“
Medium TV: Inhalte, erdacht von einem Autor, produziert von einer
Industrie, distribuiert über eine Technologie, an ein Publikum geliefert,
TV Drama/ Serie: Eindrückliche Erfahrung des Zuschauers in einer
vollständig realisierten Erzählwelt mit glaubwürdigen Charakteren über
eine bestimmte Zeitspanne hinweg, als Teil einer Gemeinschaft.
Film und TV ist nicht mehr nur ein Screen oder eine Leinwand:
Smartphones, Laptops, Tablets, ein Amalgam aus vielen
Bildschirmen, die interagieren. Zuschauer und Formate reisen
zwischen den Bildschirmen.
What is the story? What audience are we trying to reach? What is the
best way to tell that story to that particular audience? Digital
agency Somethin‘ Else, UK, producing TV series Skins 2013
Mittwoch, 26. Februar 14
14. Neue kurze fiktionale Formen im Netz
Web-Serie: eigenständiges Webformat, zahlreiche Genres
web series: a series created from within a movement, one that allows content creators to bypass
gatekeepers with disruptive media and taking ownership of one’s distribution chain with a direct
connection to their audiences; sometimes called “the new independent film” or the “lean start up” of
serialized entertainment.
Webisode: Zusätzliche kurze Episoden zu bestehenden TV-Serien
„Digital series“: Originalserie, für ein digitales Portal wie Netflix
produziert, z.B. „House of Cards“
Mittwoch, 26. Februar 14
15. Die Hütte - The Cottage
(5th Semester)
Mittwoch, 26. Februar 14