Difference between revisions of "Winter (LFS01413 6)"

 
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|lieuTournage=49.24232, 8.45433
 
|lieuTournage=49.24232, 8.45433
 
|thematique=Environment@ Identity@ Traditions
 
|thematique=Environment@ Identity@ Traditions
 +
|Resume_de=Winterimpressionen und Strassen werden geräumt.
 
|Resume_en=Winter shots 1957 in Philippsburg.
 
|Resume_en=Winter shots 1957 in Philippsburg.
|Resume_de=Winterimpressionen und Strassen werden geräumt.
+
|Description_de=Winteraufnahmen in Philippsburg 1957.
 
|Description_en=Winter shots 1957 in Philippsburg.
 
|Description_en=Winter shots 1957 in Philippsburg.
|Description_de=Winteraufnahmen in Philippsburg 1957.
+
|Contexte_et_analyse_fr=Dans la lueur de l’aube, le disque jaune du soleil s’élève joyeusement au-dessus des toits enneigés. Le film amateur existe en couleur depuis le milieu des années 1930 et dans ces impressions hivernales de Philippsburg tournées en 1957, les couleurs se détachent discrètement de la blancheur du paysage urbain enneigé. Dans les longs-métrages de cinéma, la couleur n’a pas toujours été la bienvenue chez les réalisateurs aux prétentions artistiques, puisqu’elle renforce encore le réalisme du média. Dans le film amateur, elle est au contraire un moyen de donner encore plus de poids à la promesse d’un regard documentaire et authentique.  
|Contexte_et_analyse_en=The sun amidst a glow of dawn - the yellow round stands moodily over snow-covered roofs. The amateur film could be shot in colour since the mid-1930s, and even in these winter impressions from Philippsburg in 1957, the colors are inconspicuously apparent next to the white of the snowy urban landscape. In the feature film, color was not always welcome to directors who demand art, as color film reinforced the realism of the medium. In the private film, she was a means to give even more emphasis to the promise of documentary and authentic.
 
  
For amateur film makers, too, the challenge remains of giving their own film their own form. The first shot of the winter impressions not only marks a time of day, she also uses one of the basic possibilities of image design: The scene with the morning sun tilts into the surface, gaining its atmospheric density, as the visible between surface and depth appears. The contrast is all the clearer when, in the next shot with the deep-focus image, the other basic possibility of visual arrangement is picked up: a road and a stream side by side look deep, and the snow shows its surface in the gradations of light and shadow , With the staggered surfaces in white, pictorial space emerges all the more as a spatial image, as a 'picture' of a winter landscape that gets something picturesque.
+
Le défi pour les cinéastes amateurs est aussi de trouver une forme propre pour leurs films. Le premier plan de ces impressions d’hiver ne marque pas seulement une heure de la journée, il utilise l’une des recettes immémoriales de la composition picturale : le décor sous le soleil matinal bascule dans un espace en deux dimensions, gagne sa densité atmosphérique en faisant apparaître ce qui est visible entre la surface et la profondeur. Le contraste est d’autant plus net que le plan suivant, avec sa profondeur de champ, exploite un autre arrangement pictural classique : une rue et un cours d’eau guident le regard dans la perspective et la neige révèle sa surface dans un dégradé de lumière et d’ombre. Avec ces surfaces blanches échelonnées, l’espace pictural affirme d’autant plus sa profondeur spatiale, comme un « tableau » d’un paysage d’hiver qui prend un caractère pittoresque.
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Une femme traverse rapidement le cadre au premier plan tandis que la rue est toujours à l’ombre sous les toits étincelants couverts de neige. La journée commence, et le film amateur offre lui aussi des occasions simples de saisir le mouvement dans l’image elle-même en mouvement : les gens avancent vers la caméra, à pied ou en voiture, comme ce véhicule du service de déneigement. Il s’approche moyennant plusieurs coupes dans le montage et son conducteur est montré en gros plan, tandis que ses collègues pellettent en plan moyen. Le film a recours aux artifices du découpage employés dans les œuvres de fiction et les documentaires : il reproduit en quelque sorte ce que fait le cinéma quand il construit une intrigue. Le déroulement de la matinée fait intervenir une continuité temporelle qui s’accompagne d’un surprenant saut spatial : avec le véhicule de service hivernal, le mouvement mène jusqu’à la caméra – il repart ensuite, après un changement de plan, pour nous montrer une cycliste descendant une autre rue enneigée. Le film mobilise souvent les associations d’idées et donne à voir ce qui échappe facilement au regard : des scènes quotidiennes fortuites aperçues fugacement, des espaces urbains en l’occurrence qui composent l’image fragmentaire d’une ville en hiver.  
  
Then a woman in the foreground scurries through the picture, while the street is still in shadow under the brightly lit snow roofs. The day begins, and even in amateur film there are easy ways to capture movement in the moving image: people go to the camera and drive toward them, as now the car with the men from the winter service. In several cuts, he approaches the camera, the driver is in a close-up more accurately recognizable, his shoveling staff in the half-close. The film draws on the means of 'dissolution', as they are known from feature and documentary films, it performs to a certain extent, what the cinema with the design of an action shows. The advancing morning brings a temporal continuity in the game, which combines with a surprising spatial jump: With the car from the winter service, the movement leads to the camera - and it leads away from her, if after a cut a cyclist down another snowy road moves. The film always keeps to the associative - and makes visible what escapes the eye otherwise easily: random everyday scenes in the atmospheric of their visual appearance, urban spaces in this case, which are composed to a fragmentary image of a wintry city.
+
L’atmosphère s’étoffe encore avec l’apparition de l’église du Christ, enneigée, dans l’éclatante lumière du soleil. Un homme traverse inopinément le cadre au premier plan. Il apparaît à nouveau, s’entretient avec d’autres personnes qui attendent. Le passage du plan semi-rapproché au gros plan semble encore souligner son importance. Les images suivantes racontent le début d’une histoire : des personnes qui patientent devant le mur d’un bâtiment, des enfants qui sortent de ce dernier, accompagnés d’une religieuse. L’homme récupère son fils, comme en témoigne un plan moyen qui les montre tous deux à vélo.
  
The atmosphere thickens when the snowy Christ Church shows itself in the glare of sunlight and unexpectedly a man crosses the setting in the foreground. He appears again, conversing with other people waiting - the jump from the half-close to the close-up seems to underline its importance. The following pictures are added to the beginning of a story: people waiting on a wall, children come out of the house, accompanied by a nun. The young man picks up his son, as is made clear by a half-close-up, in which both are seen with a bicycle.
+
Le film opte pour des images documentaires qui acquièrent leur propre densité en se contentant de renvoyer à ce qu’elles montrent et d’esquisser une trame narrative. Les couleurs vives du chapeau et des gants ressortent, dans ce plan où une femme se tient devant un mur de maison avec ses deux enfants. Une scène semblant sortie d’un reportage vient s’intercaler, montrant un homme qui s’adresse à la caméra, une pelle à la main. L’image suivante évoque un film familial – un jeune garçon avec une trottinette attend le signal pour s’élancer. Autant de petites histoires quotidiennes qui apparaissent brièvement et restent pourtant des images aléatoires, qui se succèdent pour brosser le tableau d’une ville en hiver et s’agencent chronologiquement selon l’heure de la journée. Deux femmes qui discutent, d’abord dans l’encadrement jaune d’une porte d’entrée, puis au pied d’un escalier. La présence de la caméra se fait plus perceptible lorsqu’une autre femme regarde la caméra en souriant devant le mur d’une maison.  
  
The film chooses the documentary images that get their own weight by pointing to what they are showing and just hinting at a story. The colorful colors of the cap and gloves stand out when a woman and her two children are standing in front of the house wall. A scene like from a reportage intervenes when a man with a shovel speaks into the camera. The family film gets its picture when a boy with scooter waits for the signal to start driving. Small everyday stories flash up and yet remain random images, join the picture of a wintry city and can be classified in the advancing time of day. Two women chatting, first in the front door with the yellow frame, then in front of the house by the stairs. The camera's view becomes more noticeable when another woman on the wall of the house looks at the camera with a smile.
+
La caméra s’attache aux choses en tant que phénomènes, qu’elles soient saisies spontanément ou que l’on perçoive une volonté créatrice. Encore et encore, ces impressions d’une journée d’hiver révèlent leur sensualité — et dans leur perception, elles peuvent devenir de petits événements. Un court métrage amateur qui respecte l’authenticité du documentaire, en ce sens que les traces de ses images révèlent une ville en hiver entre vie quotidienne et poésie — et nous conduisent à Philippsburg en 1957.  
  
This camera view attaches itself to things as phenomena, whether they are spontaneously captured or a claim to design is recognizable. Again and again, the impressions of the winter day show their sensual surplus - and in their perception can become small events. A short amateur film adheres to the authenticity of the documentary, in that the traces of his pictures make a wintry city between everyday life and poetry visible - and lead to the Philippsburg of 1957.
 
  
 
Reiner Bader
 
Reiner Bader
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Dieser Kamerablick heftet sich an die Dinge als Phänomene, ob sie nun spontan festgehalten sind oder ein Anspruch auf Gestaltung erkennbar wird. Immer wieder kehren die Impressionen des Wintertages ihren sensuellen Überschuss hervor – und können in ihrer Wahrnehmung zu kleinen Ereignissen werden. Ein kurzer Amateurfilm hält sich an die Authentizität des Dokumentarischen, indem die Spuren seiner Bilder eine winterliche Stadt zwischen Alltag und Poesie sichtbar werden lassen – und in das Philippsburg des Jahres 1957 führen.
 
Dieser Kamerablick heftet sich an die Dinge als Phänomene, ob sie nun spontan festgehalten sind oder ein Anspruch auf Gestaltung erkennbar wird. Immer wieder kehren die Impressionen des Wintertages ihren sensuellen Überschuss hervor – und können in ihrer Wahrnehmung zu kleinen Ereignissen werden. Ein kurzer Amateurfilm hält sich an die Authentizität des Dokumentarischen, indem die Spuren seiner Bilder eine winterliche Stadt zwischen Alltag und Poesie sichtbar werden lassen – und in das Philippsburg des Jahres 1957 führen.
 +
Reiner Bader
 +
|Contexte_et_analyse_en=The sun amidst a glow of dawn - the yellow round stands moodily over snow-covered roofs. The amateur film could be shot in colour since the mid-1930s, and even in these winter impressions from Philippsburg in 1957, the colors are inconspicuously apparent next to the white of the snowy urban landscape. In the feature film, color was not always welcome to directors who demand art, as color film reinforced the realism of the medium. In the private film, she was a means to give even more emphasis to the promise of documentary and authentic.
 +
 +
For amateur film makers, too, the challenge remains of giving their own film their own form. The first shot of the winter impressions not only marks a time of day, she also uses one of the basic possibilities of image design: The scene with the morning sun tilts into the surface, gaining its atmospheric density, as the visible between surface and depth appears. The contrast is all the clearer when, in the next shot with the deep-focus image, the other basic possibility of visual arrangement is picked up: a road and a stream side by side look deep, and the snow shows its surface in the gradations of light and shadow , With the staggered surfaces in white, pictorial space emerges all the more as a spatial image, as a 'picture' of a winter landscape that gets something picturesque.
 +
 +
Then a woman in the foreground scurries through the picture, while the street is still in shadow under the brightly lit snow roofs. The day begins, and even in amateur film there are easy ways to capture movement in the moving image: people go to the camera and drive toward them, as now the car with the men from the winter service. In several cuts, he approaches the camera, the driver is in a close-up more accurately recognizable, his shoveling staff in the half-close. The film draws on the means of 'dissolution', as they are known from feature and documentary films, it performs to a certain extent, what the cinema with the design of an action shows. The advancing morning brings a temporal continuity in the game, which combines with a surprising spatial jump: With the car from the winter service, the movement leads to the camera - and it leads away from her, if after a cut a cyclist down another snowy road moves. The film always keeps to the associative - and makes visible what escapes the eye otherwise easily: random everyday scenes in the atmospheric of their visual appearance, urban spaces in this case, which are composed to a fragmentary image of a wintry city.
 +
 +
The atmosphere thickens when the snowy Christ Church shows itself in the glare of sunlight and unexpectedly a man crosses the setting in the foreground. He appears again, conversing with other people waiting - the jump from the half-close to the close-up seems to underline its importance. The following pictures are added to the beginning of a story: people waiting on a wall, children come out of the house, accompanied by a nun. The young man picks up his son, as is made clear by a half-close-up, in which both are seen with a bicycle.
 +
 +
The film chooses the documentary images that get their own weight by pointing to what they are showing and just hinting at a story. The colorful colors of the cap and gloves stand out when a woman and her two children are standing in front of the house wall. A scene like from a reportage intervenes when a man with a shovel speaks into the camera. The family film gets its picture when a boy with scooter waits for the signal to start driving. Small everyday stories flash up and yet remain random images, join the picture of a wintry city and can be classified in the advancing time of day. Two women chatting, first in the front door with the yellow frame, then in front of the house by the stairs. The camera's view becomes more noticeable when another woman on the wall of the house looks at the camera with a smile.
 +
 +
This camera view attaches itself to things as phenomena, whether they are spontaneously captured or a claim to design is recognizable. Again and again, the impressions of the winter day show their sensual surplus - and in their perception can become small events. A short amateur film adheres to the authenticity of the documentary, in that the traces of his pictures make a wintry city between everyday life and poetry visible - and lead to the Philippsburg of 1957.
 +
 
Reiner Bader
 
Reiner Bader
 
}}
 
}}

Latest revision as of 14:14, 18 March 2021


Warning[1]

Abstract


Winter shots 1957 in Philippsburg.

Description


Winter shots 1957 in Philippsburg.

Metadata

Reference / film number :  LFS01413 6
Date :  1957
Coloration :  Color
Sound :  Mute
Running time :  00:01:37
Reel format :  8 mm
Genre :  Amateur movie
Thematics :  Environment, Identity, Traditions
Archive :  Haus des Dokumentarfilms

Context and analysis


The sun amidst a glow of dawn - the yellow round stands moodily over snow-covered roofs. The amateur film could be shot in colour since the mid-1930s, and even in these winter impressions from Philippsburg in 1957, the colors are inconspicuously apparent next to the white of the snowy urban landscape. In the feature film, color was not always welcome to directors who demand art, as color film reinforced the realism of the medium. In the private film, she was a means to give even more emphasis to the promise of documentary and authentic.

For amateur film makers, too, the challenge remains of giving their own film their own form. The first shot of the winter impressions not only marks a time of day, she also uses one of the basic possibilities of image design: The scene with the morning sun tilts into the surface, gaining its atmospheric density, as the visible between surface and depth appears. The contrast is all the clearer when, in the next shot with the deep-focus image, the other basic possibility of visual arrangement is picked up: a road and a stream side by side look deep, and the snow shows its surface in the gradations of light and shadow , With the staggered surfaces in white, pictorial space emerges all the more as a spatial image, as a 'picture' of a winter landscape that gets something picturesque.

Then a woman in the foreground scurries through the picture, while the street is still in shadow under the brightly lit snow roofs. The day begins, and even in amateur film there are easy ways to capture movement in the moving image: people go to the camera and drive toward them, as now the car with the men from the winter service. In several cuts, he approaches the camera, the driver is in a close-up more accurately recognizable, his shoveling staff in the half-close. The film draws on the means of 'dissolution', as they are known from feature and documentary films, it performs to a certain extent, what the cinema with the design of an action shows. The advancing morning brings a temporal continuity in the game, which combines with a surprising spatial jump: With the car from the winter service, the movement leads to the camera - and it leads away from her, if after a cut a cyclist down another snowy road moves. The film always keeps to the associative - and makes visible what escapes the eye otherwise easily: random everyday scenes in the atmospheric of their visual appearance, urban spaces in this case, which are composed to a fragmentary image of a wintry city.

The atmosphere thickens when the snowy Christ Church shows itself in the glare of sunlight and unexpectedly a man crosses the setting in the foreground. He appears again, conversing with other people waiting - the jump from the half-close to the close-up seems to underline its importance. The following pictures are added to the beginning of a story: people waiting on a wall, children come out of the house, accompanied by a nun. The young man picks up his son, as is made clear by a half-close-up, in which both are seen with a bicycle.

The film chooses the documentary images that get their own weight by pointing to what they are showing and just hinting at a story. The colorful colors of the cap and gloves stand out when a woman and her two children are standing in front of the house wall. A scene like from a reportage intervenes when a man with a shovel speaks into the camera. The family film gets its picture when a boy with scooter waits for the signal to start driving. Small everyday stories flash up and yet remain random images, join the picture of a wintry city and can be classified in the advancing time of day. Two women chatting, first in the front door with the yellow frame, then in front of the house by the stairs. The camera's view becomes more noticeable when another woman on the wall of the house looks at the camera with a smile.

This camera view attaches itself to things as phenomena, whether they are spontaneously captured or a claim to design is recognizable. Again and again, the impressions of the winter day show their sensual surplus - and in their perception can become small events. A short amateur film adheres to the authenticity of the documentary, in that the traces of his pictures make a wintry city between everyday life and poetry visible - and lead to the Philippsburg of 1957.

Reiner Bader

Places and monuments


Phillipsburg



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