Difference between revisions of "Neubau Bootshaus Seefest (LFS 1433 4)"

 
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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_de=Erster Spatenstich beim SCK Bootshausneubau, Seefest, Jahrmarkt
 
|Resume_en=Opening ceremony for the new boathouse and the tradtional sea festivity (Seefest) in Philippsburg 1971.
 
|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
+
|Contexte_et_analyse_fr=Variété et haut-parleur – au milieu des années 1960, le son a trouvé sa place dans le cinéma amateur avec la technique du super-8. Une voix off donne ainsi des informations sur les images, qui font redite avec ce que l’on voit. Les chansons de variété fournissent l’ambiance sonore adaptée, qui souligne l’atmosphère de la scène. En l’occurrence, il s’agit de deux événements de l’été 1971 à Philippsburg : le lancement de la construction du nouveau hangar à bateaux et la fête du lac.  
|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.
 
  
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.
+
Le narrateur nous précise l’identité des protagonistes à l’image : le président du club de natation, Erich Maus, qui donne le premier coup de pioche symbolique du chantier ; et le maire Karl Frank, qui perce le fût de bière tout de suite après. La voix off adopte le style du « direct », à la façon des reportages, manifestement inspirée par les sujets que l’on voit à la télévision. La musique de fond, à l’inverse, indique clairement que les scènes sont passées et qu’on leur a adjoint a posteriori des morceaux à succès quelconques.
  
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.
+
En nommant ce que voit le spectateur, le narrateur lui donne plus encore l’impression d’assister en personne aux événements et focalise son attention sur ses propos. « Trois gourmets savourent en silence », ironise le commentaire d’un plan montrant trois hommes sur la terrasse du hangar à bateaux. Les mots guident la compréhension du spectateur, mais les images suivantes valent pour elles-mêmes, accompagnées de musique légère : l’agitation des gens autour du fût de bière, la terrasse pleine avec l’Altrhein en arrière-plan, l’image d’un cargo passant lentement au fond, tandis que l’ancien hangar à bateaux occupe le premier plan. Le film laisse aussi le temps et l’espace aux jeunes du club de canoë qui font une démonstration d’esquimautage au cœur du paysage rhénan. Un « plus » émerge au niveau du visuel – et renvoie au potentiel propre de l’image documentaire.  
  
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.
+
Une brève animation nous signale un changement de lieu : « Et maintenant, nous sommes à la fête du lac de 1971. » Nous voyons d’abord un grand panneau portant les initiales du club de natation de Philippsburg, avant que la caméra ne dézoome afin de faire entrer le toboggan dans le cadre. Le commentaire se limite à cette information laconique et laisse au spectateur tout loisir de laisser émerger ses propres associations d’idées, stimulées par le morceau de musique – « Pack die Badehose ein » [Prends ton maillot de bain]. Un plan panoramique sur la surface de l’eau scintillante parsemée de nombreux nageurs enthousiastes révèle ensuite le lac adjacent, une gravière aménagée grâce aux graviers de l’entrepreneur Ernst Freyer. Le plongeoir, les pelouses bondées, un bébé dans son transat : les images esquissent l’atmosphère de la fête du lac qui se déroule entre la piscine et le lac Freyer. La caméra se met en mouvement en embarquant à bord d’un bateau pour filmer le lac de plus ou moins près : les nageurs qui passent, les silhouettes des maisons en arrière-plan, les jeunes sautant tête première dans l’eau sur le bord. Le documentaire et l’authentique prennent le pas sur ce qui se révèle au cinéaste amateur, les traces de ce qui peut être vu, qui deviennent des traces du passé.  
  
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.
+
Une attraction visuelle apparaît : les parachutistes de la première division aéroportée de Bruchsal sautent dans le lac d’une hauteur de 1 200 mètres. La vitesse du montage augmente pour atteindre un petit staccato lorsque les parachutes colorés accélèrent en s’approchant du canot de l’Association allemande de secourisme (DLRG). L’intervention de la division aéroportée se double d’un déploiement de la DLRG qui assure le sauvetage des parachutistes et de leur matériel.
  
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.
+
L’ouverture de la fête du lac est reléguée à la fin du film. Nous voyons passer la fanfare Bruhrain de Wiesental accompagnée d’un air de marche. De façon inattendue, les participants défilent sur une série de montures exotiques et le plan filmé de biais s’aplatit lorsque les deux présidents du club de natation passent devant la caméra pour, dixit la voix off, leur « extraordinaire virée à dos de chameau ». La profondeur du plan contribue à l’effet lorsque l’éléphant qui les précède réapparaît à l’arrière-plan et devient le point de mire, après que le cortège de la fanfare au premier plan a disparu de l’image. Le temps de quelques plans, il accroche le regard tandis qu’il se fraye un chemin au milieu des enfants.  
  
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.
+
Impossible de faire l’impasse sur le discours du premier président du club Fridolin Ellermann et sur l’inauguration du nouveau poste de sauvetage de la DLRG. Les images des attractions de la fête du lac laissent également la place aux impressions : parcours équestre, manège moderne à sensations ou carrousel à l’ancienne plus lent pour les enfants. Des images qui, une fois de plus, laissent le visuel agir sans paroles : l’art d’être « présent », comme on le pratique à la télévision, se coule ici dans un témoignage qui documente avec un regard subjectif les événements passés.  
  
 
Reiner Bader
 
Reiner Bader
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Nicht fehlten dürfen Bilder von der Ansprache der ersten Vorsitzenden Fridolin Ellermann und der Einweihung der neuen DLRG-Rettungswachstation. Auch bei den Einstellungen vom Seefest-Vergnügungspark gibt es wieder Freiraum für Impressionen: vom Reitparcours, vom modernen Wellenflug-Karussell oder dem traditionellen, langsam fahrenden Karussell für die Kinder. Bilder, die einmal mehr das Visuelle ohne Worte wirken lassen: Das ‚Dabeisein‘, wie man es aus dem Fernsehen kennt, geht ein in eine Zeugenschaft, die mit subjektivem Blick dokumentiert, was einmal so gewesen ist.   
 
Nicht fehlten dürfen Bilder von der Ansprache der ersten Vorsitzenden Fridolin Ellermann und der Einweihung der neuen DLRG-Rettungswachstation. Auch bei den Einstellungen vom Seefest-Vergnügungspark gibt es wieder Freiraum für Impressionen: vom Reitparcours, vom modernen Wellenflug-Karussell oder dem traditionellen, langsam fahrenden Karussell für die Kinder. Bilder, die einmal mehr das Visuelle ohne Worte wirken lassen: Das ‚Dabeisein‘, wie man es aus dem Fernsehen kennt, geht ein in eine Zeugenschaft, die mit subjektivem Blick dokumentiert, was einmal so gewesen ist.   
 +
 +
Reiner Bader
 +
|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.
 +
 +
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 Bader
 
Reiner Bader
 
}}
 
}}

Latest revision as of 14:15, 22 March 2021


Warning[1]

Abstract


Opening ceremony for the new boathouse and the tradtional sea festivity (Seefest) in Philippsburg 1971.

Metadata

Reference / film number :  LFS 1433 4
Date :  1971
Coloration :  Color
Sound :  Sound movie
Running time :  00:09:15
Reel format :  Super 8 mm
Language :  German
Genre :  Amateur movie
Thematics :  Body and Health, Sport, Swimming, Environment, Outdoor activities
Archive :  Haus des Dokumentarfilms

Context and analysis


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 Bader

Places and monuments


Philippsburg



  1. This film analysis is still in progress. It may therefore be incomplete and contain errors.