Neubau Bootshaus Seefest (LFS 1433 4) : Différence entre versions
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|lieuTournage=49.24131, 8.46102 | |lieuTournage=49.24131, 8.46102 | ||
|thematique=Body and Health@ Sport@ Swimming@ Environment@ Outdoor activities | |thematique=Body and Health@ Sport@ Swimming@ Environment@ Outdoor activities | ||
| + | |Resume_en=Opening ceremony for the new boathouse and the tradtional sea festivity (Seefest) in Philippsburg 1971. | ||
|Resume_de=Erster Spatenstich beim SCK Bootshausneubau, Seefest, Jahrmarkt | |Resume_de=Erster Spatenstich beim SCK Bootshausneubau, Seefest, Jahrmarkt | ||
| + | |Contexte_et_analyse_en=Schlager music and a spokesman, in the mid-sixties the sound became popular in private films with the 'Super 8' technique. The speaker gives information about the pictures - and tells again what one see anyway. The pop music provides the right sound carpet, which accompanies the whole atmosphere. In this case, there are two events from the Philippsburg summer of 1971: the opening ceremony for the new boathouse and the traditional sea festivity. | ||
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| + | Who can be seen, can now also be heard: the board of the swimming club, Erich Maus, who starts the symbolic groundbreaking ceremony; and the mayor Karl Frank, who immediately open the beer barrel. The spokesman takes up the gesture of being 'live' being - the reportage style, as we know it from the TV-reports, is the inspiration. The accompanying music, on the other hand, makes it noticeable that the scenes have passed - subsequently backed by popular hits. | ||
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| + | To call by Name what is seen intensifies the suggestion of presence at the place of the event - and at the same time fixes the image on what the speaker says. "Three quiet bon vivants at work" is an irony comment on a shot of three gentlemen on the boathouse terrace. The words guide the viewer's understanding, but the following images stand alone in the sound of light music: the crowds of people at the beer barrel, the crowded terrace with the background of the older parts of the Rhein river, the 'picture' of a cargo ship passing slowly behind, while the old boathouse marks the foreground. And also the youngsters of the canoe club are documented by performing the Eskimo role, the film gives time and space, which let the Rhine landscape play along. A 'more' emerges, which is in the visual - and points to the own potential of the documentary. | ||
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| + | A moving graphic represents the change of location: "And now we are at the Seefest 1971". First there is the big sign with the initials of the swimming club Philippsburg, before the camera zooms back and brings the slide into the picture. The speaker limits himself to the brief information and leaves the viewer free space for associations, which are still stimulated by the music - "pack the bathing wear". A swing over the glittering water surface with the many water rats makes the lake directly next to the visible, the gravel pit with the gravel Ernst Freyer. The springboard, the fully occupied lawns and a baby in its shell - a lake festival is circled atmospherically that takes place between the pool and 'Freyer See'. The camera sets itself in motion on a boat, taking in the view from the lake: the floating swimmers, the silhouettes of the houses in the background, the teenagers jumping headfirst into the water. The documentary and the authentic come to the fore, that which shows itself to the amateur filmmaker, the traces of those to be seen, which become traces of the past. | ||
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| + | A visual attraction comes into view: The parachutists of the first airborne division Bruchsal jump from 1,200 meters into the lake. The average speed increases to a small staccato when the colorful parachutes fall faster and faster near the DLRG lifeboat. The action of the Airborne Division is combined with a DLRG mission, which provides for the recovery of jumpers and parachutes. | ||
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| + | The opening of the lake festival has come to the end of the film. The Fanfarenzug Wiesental from the village Buhrain draws to the underlying marching music. Unusual motives with an exotic riding experience are presentet: the picture becomes flat in the view from the side, if the two first chairmen are to be seen with their, according to the speaker, "sensational camel ride". And the depth of the image plays along, when the elephant, who is initially in the lead, reappears in the background and attracts attention after the fanfare train in the foreground has disappeared from the picture. For some attitudes, he becomes an eye-catcher, paving his way, surrounded by children. | ||
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| + | Not missing are pictures of the speech of the first chairman Fridolin Ellermann and the inauguration of the new DLRG rescue station. The settings of the Seefest amusement park also provide room for impressions: from the riding course, from the modern wave-flying carousel or the traditional, slow-moving carousel for the children. Images that once again make the visual work without words: being 'in' as one knows it from television, enters into a testimony that documents with a subjective eye what has once been so. | ||
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| + | Reiner Bader | ||
|Contexte_et_analyse_de=Schlagermusik und ein Sprecher – Mitte der 60er Jahre hält mit der ‚Super 8‘-Technik der Ton Einzug in den Amateurfilm. Der Sprecher gibt Informationen zu den Bildern – und sagt noch mal, was man ohnehin sieht. Die Schlagermusik sorgt für den passenden Klangteppich, der das Ganze atmosphärisch untermalt. In diesem Fall sind es zwei Ereignisse aus dem Philippsburger Sommer des Jahres 1971: der erste Spatenstich für das neue Bootshaus und das Seefest. | |Contexte_et_analyse_de=Schlagermusik und ein Sprecher – Mitte der 60er Jahre hält mit der ‚Super 8‘-Technik der Ton Einzug in den Amateurfilm. Der Sprecher gibt Informationen zu den Bildern – und sagt noch mal, was man ohnehin sieht. Die Schlagermusik sorgt für den passenden Klangteppich, der das Ganze atmosphärisch untermalt. In diesem Fall sind es zwei Ereignisse aus dem Philippsburger Sommer des Jahres 1971: der erste Spatenstich für das neue Bootshaus und das Seefest. | ||
Version du 12 novembre 2019 à 13:02
Résumé
Contexte et analyse
Schlager music and a spokesman, in the mid-sixties the sound became popular in private films with the 'Super 8' technique. The speaker gives information about the pictures - and tells again what one see anyway. The pop music provides the right sound carpet, which accompanies the whole atmosphere. In this case, there are two events from the Philippsburg summer of 1971: the opening ceremony for the new boathouse and the traditional sea festivity.
Who can be seen, can now also be heard: the board of the swimming club, Erich Maus, who starts the symbolic groundbreaking ceremony; and the mayor Karl Frank, who immediately open the beer barrel. The spokesman takes up the gesture of being 'live' being - the reportage style, as we know it from the TV-reports, is the inspiration. The accompanying music, on the other hand, makes it noticeable that the scenes have passed - subsequently backed by popular hits.
To call by Name what is seen intensifies the suggestion of presence at the place of the event - and at the same time fixes the image on what the speaker says. "Three quiet bon vivants at work" is an irony comment on a shot of three gentlemen on the boathouse terrace. The words guide the viewer's understanding, but the following images stand alone in the sound of light music: the crowds of people at the beer barrel, the crowded terrace with the background of the older parts of the Rhein river, the 'picture' of a cargo ship passing slowly behind, while the old boathouse marks the foreground. And also the youngsters of the canoe club are documented by performing the Eskimo role, the film gives time and space, which let the Rhine landscape play along. A 'more' emerges, which is in the visual - and points to the own potential of the documentary.
A moving graphic represents the change of location: "And now we are at the Seefest 1971". First there is the big sign with the initials of the swimming club Philippsburg, before the camera zooms back and brings the slide into the picture. The speaker limits himself to the brief information and leaves the viewer free space for associations, which are still stimulated by the music - "pack the bathing wear". A swing over the glittering water surface with the many water rats makes the lake directly next to the visible, the gravel pit with the gravel Ernst Freyer. The springboard, the fully occupied lawns and a baby in its shell - a lake festival is circled atmospherically that takes place between the pool and 'Freyer See'. The camera sets itself in motion on a boat, taking in the view from the lake: the floating swimmers, the silhouettes of the houses in the background, the teenagers jumping headfirst into the water. The documentary and the authentic come to the fore, that which shows itself to the amateur filmmaker, the traces of those to be seen, which become traces of the past.
A visual attraction comes into view: The parachutists of the first airborne division Bruchsal jump from 1,200 meters into the lake. The average speed increases to a small staccato when the colorful parachutes fall faster and faster near the DLRG lifeboat. The action of the Airborne Division is combined with a DLRG mission, which provides for the recovery of jumpers and parachutes.
The opening of the lake festival has come to the end of the film. The Fanfarenzug Wiesental from the village Buhrain draws to the underlying marching music. Unusual motives with an exotic riding experience are presentet: the picture becomes flat in the view from the side, if the two first chairmen are to be seen with their, according to the speaker, "sensational camel ride". And the depth of the image plays along, when the elephant, who is initially in the lead, reappears in the background and attracts attention after the fanfare train in the foreground has disappeared from the picture. For some attitudes, he becomes an eye-catcher, paving his way, surrounded by children.
Not missing are pictures of the speech of the first chairman Fridolin Ellermann and the inauguration of the new DLRG rescue station. The settings of the Seefest amusement park also provide room for impressions: from the riding course, from the modern wave-flying carousel or the traditional, slow-moving carousel for the children. Images that once again make the visual work without words: being 'in' as one knows it from television, enters into a testimony that documents with a subjective eye what has once been so.
Reiner BaderLieux ou monuments
- ↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.
