https://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&feed=atom&action=historyWinter (LFS01413 6) - Historique des versions2024-03-29T12:56:33ZHistorique des versions pour cette page sur le wikiMediaWiki 1.32.0https://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=17744&oldid=prevMarie Falga le 18 mars 2021 à 13:142021-03-18T13:14:04Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 18 mars 2021 à 13:14</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieuTournage=49.24232, 8.45433</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieuTournage=49.24232, 8.45433</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|thematique=Environment@ Identity@ Traditions</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|thematique=Environment@ Identity@ Traditions</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Resume_de=Winterimpressionen und Strassen werden geräumt.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_en=Winter shots 1957 in Philippsburg.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_en=Winter shots 1957 in Philippsburg.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|<del class="diffchange diffchange-inline">Resume_de</del>=<del class="diffchange diffchange-inline">Winterimpressionen und Strassen werden geräumt</del>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|<ins class="diffchange diffchange-inline">Description_de</ins>=<ins class="diffchange diffchange-inline">Winteraufnahmen in Philippsburg 1957</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Description_en=Winter shots 1957 in Philippsburg.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Description_en=Winter shots 1957 in Philippsburg.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|<del class="diffchange diffchange-inline">Description_de</del>=<del class="diffchange diffchange-inline">Winteraufnahmen in Philippsburg 1957.</del></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|<ins class="diffchange diffchange-inline">Contexte_et_analyse_fr</ins>=<ins class="diffchange diffchange-inline">Dans la lueur de l’aube, le disque jaune du soleil s’élève joyeusement au</ins>-<ins class="diffchange diffchange-inline">dessus des toits enneigés</ins>. <ins class="diffchange diffchange-inline">Le film </ins>amateur <ins class="diffchange diffchange-inline">existe en couleur depuis le milieu des années 1930 et dans ces </ins>impressions <ins class="diffchange diffchange-inline">hivernales de </ins>Philippsburg <ins class="diffchange diffchange-inline">tournées en </ins>1957, <ins class="diffchange diffchange-inline">les couleurs se détachent discrètement de la blancheur du paysage urbain enneigé</ins>. <ins class="diffchange diffchange-inline">Dans les longs-métrages de cinéma</ins>, <ins class="diffchange diffchange-inline">la couleur n’a pas toujours été la bienvenue chez les réalisateurs aux prétentions artistiques</ins>, <ins class="diffchange diffchange-inline">puisqu’elle renforce encore le réalisme du média</ins>. <ins class="diffchange diffchange-inline">Dans le </ins>film <ins class="diffchange diffchange-inline">amateur</ins>, <ins class="diffchange diffchange-inline">elle est au contraire un moyen de donner encore plus de poids à la promesse d’un regard documentaire et authentique</ins>. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">|Contexte_et_analyse_en=The sun amidst a glow of dawn </del>- <del class="diffchange diffchange-inline">the yellow round stands moodily over snow-covered roofs</del>. <del class="diffchange diffchange-inline">The </del>amateur <del class="diffchange diffchange-inline">film could be shot in colour since the mid-1930s, and even in these winter </del>impressions <del class="diffchange diffchange-inline">from </del>Philippsburg <del class="diffchange diffchange-inline">in </del>1957, <del class="diffchange diffchange-inline">the colors are inconspicuously apparent next to the white of the snowy urban landscape</del>. <del class="diffchange diffchange-inline">In the feature film</del>, <del class="diffchange diffchange-inline">color was not always welcome to directors who demand art</del>, <del class="diffchange diffchange-inline">as color film reinforced the realism of the medium</del>. <del class="diffchange diffchange-inline">In the private </del>film, <del class="diffchange diffchange-inline">she was a means to give even more emphasis to the promise of documentary and authentic</del>.</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">For amateur film makers</del>, <del class="diffchange diffchange-inline">too</del>, <del class="diffchange diffchange-inline">the challenge remains of giving their own film their own form</del>. <del class="diffchange diffchange-inline">The first shot of the winter impressions not only marks a time of day</del>, <del class="diffchange diffchange-inline">she also uses one of the basic possibilities of image design</del>: <del class="diffchange diffchange-inline">The scene with the morning sun tilts into the </del>surface, <del class="diffchange diffchange-inline">gaining its atmospheric density</del>, <del class="diffchange diffchange-inline">as the visible between surface and depth appears</del>. <del class="diffchange diffchange-inline">The contrast is all the clearer when</del>, <del class="diffchange diffchange-inline">in the next shot with the deep</del>-<del class="diffchange diffchange-inline">focus image</del>, <del class="diffchange diffchange-inline">the other basic possibility of visual arrangement is picked up</del>: <del class="diffchange diffchange-inline">a road and a stream side by side look deep</del>, <del class="diffchange diffchange-inline">and the snow shows its surface in the gradations of light and shadow </del>, <del class="diffchange diffchange-inline">With the staggered surfaces in white</del>, <del class="diffchange diffchange-inline">pictorial space emerges all the more as a spatial image</del>, <del class="diffchange diffchange-inline">as a 'picture' of a winter landscape that gets something picturesque</del>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">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</ins>, <ins class="diffchange diffchange-inline">il utilise l’une des recettes immémoriales de la composition picturale : le décor sous le soleil matinal bascule dans un espace en deux dimensions</ins>, <ins class="diffchange diffchange-inline">gagne sa densité atmosphérique en faisant apparaître ce qui est visible entre la surface et la profondeur</ins>. <ins class="diffchange diffchange-inline">Le contraste est d’autant plus net que le plan suivant, avec sa profondeur de champ</ins>, <ins class="diffchange diffchange-inline">exploite un autre arrangement pictural classique </ins>: <ins class="diffchange diffchange-inline">une rue et un cours d’eau guident le regard dans la perspective et la neige révèle sa </ins>surface <ins class="diffchange diffchange-inline">dans un dégradé de lumière et d’ombre. Avec ces surfaces blanches échelonnées</ins>, <ins class="diffchange diffchange-inline">l’espace pictural affirme d’autant plus sa profondeur spatiale</ins>, <ins class="diffchange diffchange-inline">comme un « tableau » d’un paysage d’hiver qui prend un caractère pittoresque. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">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</ins>. <ins class="diffchange diffchange-inline">La journée commence</ins>, <ins class="diffchange diffchange-inline">et le film amateur offre lui aussi des occasions simples de saisir le mouvement dans l’image elle</ins>-<ins class="diffchange diffchange-inline">même en mouvement : les gens avancent vers la caméra</ins>, <ins class="diffchange diffchange-inline">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 </ins>: <ins class="diffchange diffchange-inline">avec le véhicule de service hivernal</ins>, <ins class="diffchange diffchange-inline">le mouvement mène jusqu’à la caméra – il repart ensuite</ins>, <ins class="diffchange diffchange-inline">après un changement de plan</ins>, <ins class="diffchange diffchange-inline">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</ins>, <ins class="diffchange diffchange-inline">des espaces urbains en l’occurrence qui composent l’image fragmentaire d’une ville en hiver</ins>. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">Then a woman in the foreground scurries through the picture</del>, <del class="diffchange diffchange-inline">while the street is still in shadow under the brightly lit snow roofs</del>. <del class="diffchange diffchange-inline">The day begins</del>, <del class="diffchange diffchange-inline">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</del>. <del class="diffchange diffchange-inline">In several cuts, he approaches the camera, the driver is in a close-up more accurately recognizable, his shoveling staff in the half</del>-<del class="diffchange diffchange-inline">close</del>. <del class="diffchange diffchange-inline">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</del>: <del class="diffchange diffchange-inline">With the car from the winter service</del>, <del class="diffchange diffchange-inline">the movement leads to the camera - and it leads away from her</del>, <del class="diffchange diffchange-inline">if after a cut a cyclist down another snowy road moves</del>. <del class="diffchange diffchange-inline">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</del>, <del class="diffchange diffchange-inline">which are composed to a fragmentary image of a wintry city</del>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">L’atmosphère s’étoffe encore avec l’apparition de l’église du Christ</ins>, <ins class="diffchange diffchange-inline">enneigée, dans l’éclatante lumière du soleil</ins>. <ins class="diffchange diffchange-inline">Un homme traverse inopinément le cadre au premier plan. Il apparaît à nouveau</ins>, <ins class="diffchange diffchange-inline">s’entretient avec d’autres personnes qui attendent</ins>. <ins class="diffchange diffchange-inline">Le passage du plan semi</ins>-<ins class="diffchange diffchange-inline">rapproché au gros plan semble encore souligner son importance</ins>. <ins class="diffchange diffchange-inline">Les images suivantes racontent le début d’une histoire </ins>: <ins class="diffchange diffchange-inline">des personnes qui patientent devant le mur d’un bâtiment</ins>, <ins class="diffchange diffchange-inline">des enfants qui sortent de ce dernier</ins>, <ins class="diffchange diffchange-inline">accompagnés d’une religieuse</ins>. <ins class="diffchange diffchange-inline">L’homme récupère son fils</ins>, <ins class="diffchange diffchange-inline">comme en témoigne un plan moyen qui les montre tous deux à vélo</ins>. <ins class="diffchange diffchange-inline"> </ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">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</del>. <del class="diffchange diffchange-inline">He appears again</del>, <del class="diffchange diffchange-inline">conversing with other people waiting - the jump from the half-close to the close-up seems to underline its importance</del>. <del class="diffchange diffchange-inline">The following pictures are added to the beginning of a story: people waiting on a wall</del>, <del class="diffchange diffchange-inline">children come out of the house</del>, <del class="diffchange diffchange-inline">accompanied by a nun</del>. <del class="diffchange diffchange-inline">The young man picks up his son</del>, <del class="diffchange diffchange-inline">as is made clear by a half-close-up</del>, <del class="diffchange diffchange-inline">in which both are seen with a bicycle</del>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">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</ins>. <ins class="diffchange diffchange-inline">Les couleurs vives du chapeau et des gants ressortent</ins>, <ins class="diffchange diffchange-inline">dans ce plan où une femme se tient devant un mur de maison avec ses deux enfants</ins>. <ins class="diffchange diffchange-inline">Une scène semblant sortie d’un reportage vient s’intercaler</ins>, <ins class="diffchange diffchange-inline">montrant un homme qui s’adresse à la caméra</ins>, <ins class="diffchange diffchange-inline">une pelle à la main</ins>. <ins class="diffchange diffchange-inline">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</ins>, <ins class="diffchange diffchange-inline">d’abord dans l’encadrement jaune d’une porte d’entrée</ins>, <ins class="diffchange diffchange-inline">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</ins>. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">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</del>, <del class="diffchange diffchange-inline">join the picture of a wintry city and can be classified in the advancing time of day</del>. <del class="diffchange diffchange-inline">Two women chatting</del>, <del class="diffchange diffchange-inline">first in the front door with the yellow frame</del>, <del class="diffchange diffchange-inline">then in front of the house by the stairs</del>. <del class="diffchange diffchange-inline">The camera's view becomes more noticeable when another woman on the wall of the house looks at the camera with a smile</del>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">La caméra s’attache aux choses en tant que phénomènes</ins>, <ins class="diffchange diffchange-inline">qu’elles soient saisies spontanément ou que l’on perçoive une volonté créatrice</ins>. <ins class="diffchange diffchange-inline">Encore et encore</ins>, <ins class="diffchange diffchange-inline">ces impressions d’une journée d’hiver révèlent leur sensualité — et dans leur perception</ins>, <ins class="diffchange diffchange-inline">elles peuvent devenir de petits événements</ins>. <ins class="diffchange diffchange-inline">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</ins>. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">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. </del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Reiner Bader</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Reiner Bader</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l49" >Ligne 49 :</td>
<td colspan="2" class="diff-lineno">Ligne 49 :</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Reiner Bader</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Reiner Bader</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Reiner Bader</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>}}</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>}}</div></td></tr>
</table>Marie Falgahttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=12095&oldid=prevKay Hoffmann le 25 novembre 2019 à 16:292019-11-25T16:29:28Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Version précédente</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 25 novembre 2019 à 16:29</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l21" >Ligne 21 :</td>
<td colspan="2" class="diff-lineno">Ligne 21 :</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieuTournage=49.24232, 8.45433</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieuTournage=49.24232, 8.45433</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|thematique=Environment@ Identity@ Traditions</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|thematique=Environment@ Identity@ Traditions</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Resume_en=Winter shots 1957 in Philippsburg.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_de=Winterimpressionen und Strassen werden geräumt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_de=Winterimpressionen und Strassen werden geräumt.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Description_en=Winter shots 1957 in Philippsburg.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Description_de=Winteraufnahmen in Philippsburg 1957.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Description_de=Winteraufnahmen in Philippsburg 1957.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|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.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|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.</div></td></tr>
</table>Kay Hoffmannhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=12094&oldid=prevKay Hoffmann le 25 novembre 2019 à 16:252019-11-25T16:25:24Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="fr">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Version précédente</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 25 novembre 2019 à 16:25</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l23" >Ligne 23 :</td>
<td colspan="2" class="diff-lineno">Ligne 23 :</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_de=Winterimpressionen und Strassen werden geräumt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_de=Winterimpressionen und Strassen werden geräumt.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Description_de=Winteraufnahmen in Philippsburg 1957.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Description_de=Winteraufnahmen in Philippsburg 1957.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Reiner Bader</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Contexte_et_analyse_de=Die Sonne inmitten eines Scheins von Morgenrot – das gelbe Rund steht stimmungsvoll über schneebedeckten Dächern. Der Amateurfilm war bereits seit Mitte der 1930er Jahre farbig geworden, und auch in diesen Winterimpressionen aus Philippsburg 1957 tun sich die Farben unscheinbar hervor neben dem Weiß der verschneiten Stadtlandschaft. Im Spielfilm war Farbigkeit den Regisseuren mit Kunstanspruch nicht immer willkommen, da der Farbfilm den Realismus des Mediums noch verstärkte. Im Amateurfilm war sie ein Mittel, dem Versprechen des Dokumentarischen und Authentischen noch mehr Nachdruck zu verleihen.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Contexte_et_analyse_de=Die Sonne inmitten eines Scheins von Morgenrot – das gelbe Rund steht stimmungsvoll über schneebedeckten Dächern. Der Amateurfilm war bereits seit Mitte der 1930er Jahre farbig geworden, und auch in diesen Winterimpressionen aus Philippsburg 1957 tun sich die Farben unscheinbar hervor neben dem Weiß der verschneiten Stadtlandschaft. Im Spielfilm war Farbigkeit den Regisseuren mit Kunstanspruch nicht immer willkommen, da der Farbfilm den Realismus des Mediums noch verstärkte. Im Amateurfilm war sie ein Mittel, dem Versprechen des Dokumentarischen und Authentischen noch mehr Nachdruck zu verleihen.</div></td></tr>
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</table>Kay Hoffmannhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=11803&oldid=prevKay Hoffmann le 25 septembre 2019 à 12:272019-09-25T12:27:07Z<p></p>
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<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Description_de=Winteraufnahmen in Philippsburg 1957.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Contexte_et_analyse_de=Die Sonne inmitten eines Scheins von Morgenrot – das gelbe Rund steht stimmungsvoll über schneebedeckten Dächern. Der Amateurfilm war bereits seit Mitte der 1930er Jahre farbig geworden, und auch in diesen Winterimpressionen aus Philippsburg 1957 tun sich die Farben unscheinbar hervor neben dem Weiß der verschneiten Stadtlandschaft. Im Spielfilm war Farbigkeit den Regisseuren mit Kunstanspruch nicht immer willkommen, da der Farbfilm den Realismus des Mediums noch verstärkte. Im Amateurfilm war sie ein Mittel, dem Versprechen des Dokumentarischen und Authentischen noch mehr Nachdruck zu verleihen.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Contexte_et_analyse_de=Die Sonne inmitten eines Scheins von Morgenrot – das gelbe Rund steht stimmungsvoll über schneebedeckten Dächern. Der Amateurfilm war bereits seit Mitte der 1930er Jahre farbig geworden, und auch in diesen Winterimpressionen aus Philippsburg 1957 tun sich die Farben unscheinbar hervor neben dem Weiß der verschneiten Stadtlandschaft. Im Spielfilm war Farbigkeit den Regisseuren mit Kunstanspruch nicht immer willkommen, da der Farbfilm den Realismus des Mediums noch verstärkte. Im Amateurfilm war sie ein Mittel, dem Versprechen des Dokumentarischen und Authentischen noch mehr Nachdruck zu verleihen.</div></td></tr>
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</table>Kay Hoffmannhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=11802&oldid=prevKay Hoffmann le 25 septembre 2019 à 12:242019-09-25T12:24:44Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|thematique=Environment@ Identity@ Traditions</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|thematique=Environment@ Identity@ Traditions</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_de=Winterimpressionen und Strassen werden geräumt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Resume_de=Winterimpressionen und Strassen werden geräumt.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Contexte_et_analyse_de=Die Sonne inmitten eines Scheins von Morgenrot – das gelbe Rund steht stimmungsvoll über schneebedeckten Dächern. Der Amateurfilm war bereits seit Mitte der 1930er Jahre farbig geworden, und auch in diesen Winterimpressionen aus Philippsburg 1957 tun sich die Farben unscheinbar hervor neben dem Weiß der verschneiten Stadtlandschaft. Im Spielfilm war Farbigkeit den Regisseuren mit Kunstanspruch nicht immer willkommen, da der Farbfilm den Realismus des Mediums noch verstärkte. Im Amateurfilm war sie ein Mittel, dem Versprechen des Dokumentarischen und Authentischen noch mehr Nachdruck zu verleihen.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Auch für den Amateurfilmer bleibt die Herausforderung, dem eigenen Film eine eigene Gestalt zu geben. Die erste Einstellung der Wintereindrücke markiert nicht nur eine Tageszeit, sie nutzt eine der Grundmöglichkeiten der Bildgestaltung: Die Szenerie mit Morgensonne kippt ins Flächige, gewinnt ihre atmosphärische Dichte, indem das Sichtbare zwischen Fläche und Tiefe erscheint. Der Kontrast ist umso deutlicher, wenn in der nächsten Einstellung mit der tiefenscharfen Abbildung die andere grundlegende Möglichkeit visueller Anordnung aufgegriffen wird: Eine Straße und ein Bach ziehen nebeneinander den Blick in die Tiefe, und der Schnee zeigt seine Oberfläche in den Abstufungen von Licht und Schatten. Der Bildraum tritt mit den gestaffelten Flächen in Weiß umso mehr als Raumbild hervor, als ‚Bild‘ einer Winterlandschaft, die etwas Malerisches bekommt.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Dann huscht eine Frau im Vordergrund durch das Bild, während die Straße noch im Schatten liegt unter den hell erleuchteten Schneedächern. Der Tag beginnt, und auch im Amateurfilm ergeben sich einfache Möglichkeiten, Bewegung im bewegten Bild einzufangen: Menschen gehen auf die Kamera zu, fahren auf sie zu, so wie jetzt der Wagen mit den Männern vom Winterdienst. In mehreren Schnitten nähert er sich der Kamera, der Fahrer wird in einer Nahaufnahme genauer erkennbar, seine schaufelnden Mitarbeiter in der Halbnahen. Der Film greift auf die Mittel der „Auflösung“ zurück, wie man sie aus Spiel- und Dokumentarfilmen kennt, er vollzieht gewissermaßen nach, was das Kino mit der Gestaltung einer Handlung vorführt. Der fortschreitende Morgen bringt eine zeitliche Kontinuität ins Spiel, die sich mit einem überraschenden räumlichen Sprung verbindet: Mit dem Wagen vom Winterdienst führt die Bewegung auf die Kamera zu – und sie führt von ihr weg, wenn nach einem Schnitt eine Radfahrerin eine andere verschneite Straße hinunter fährt. Der Film hält sich immer wieder an das Assoziative – und macht sichtbar, was dem Blick sonst leicht entgeht: zufällige Alltagsszenen im Atmosphärischen ihrer visuellen Erscheinung, Stadträume in diesem Fall, die sich zum bruchstückhaften Bild einer winterlichen Stadt zusammensetzen.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Die Atmosphäre verdichtet sich noch, wenn die verschneite Christuskirche sich im Glanz des Sonnenlichtes zeigt und unerwartet ein Mann die Einstellung im Vordergrund durchquert. Er erscheint erneut, unterhält sich mit anderen Wartenden – der Sprung von der Halbnah- in die Nahaufnahme scheint seine Bedeutung noch zu unterstreichen. Die folgenden Bilder fügen sich weiter zum Beginn einer Geschichte: Wartende an einer Hauswand, Kinder kommen aus dem Haus, begleitet von einer Ordensschwester. Der junge Mann holt seinen Sohn ab, so macht eine Halbnahaufnahme deutlich, in der beide mit einem Fahrrad zu sehen sind. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Der Film entscheidet sich für die dokumentarischen Bilder, die ihr eigenes Gewicht bekommen, indem sie auf das verweisen, was sie zeigen und eine Geschichte nur andeuten. Die bunten Farben von Mütze und Handschuhen heben sich ab, wenn eine Frau mit ihren beiden Kindern vor der Hauswand steht. Eine Szene wie aus einer Reportage schiebt sich dazwischen, wenn ein Mann mit Schaufel in die Kamera spricht. Der Familienfilm bekommt sein Bild, wenn ein Junge mit Roller auf das Signal zum Losfahren wartet. Kleine Alltagsgeschichten blitzen auf und bleiben doch Zufallsbilder, reihen sich ein in das Bild einer winterlichen Stadt und lassen sich einordnen in die fortschreitende Tageszeit. Zwei Frauen beim Plaudern, erst in der Haustür mit dem gelben Rahmen, dann vor dem Haus an der Treppe. Der Kamerablick wird spürbarer, wenn zuletzt eine andere Frau an der Hauswand lächelnd in die Kamera schaut.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">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.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Reiner Bader</ins></div></td></tr>
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</table>Kay Hoffmannhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=11291&oldid=prevMarion.brun le 7 juin 2019 à 09:392019-06-07T09:39:49Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 7 juin 2019 à 09:39</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|son=Muet</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|son=Muet</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|timecode=00:<del class="diffchange diffchange-inline">01</del>:<del class="diffchange diffchange-inline">37</del></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|timecode=00:<ins class="diffchange diffchange-inline">00</ins>:<ins class="diffchange diffchange-inline">00</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|duree=00:01:37</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|duree=00:01:37</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|genre=Film_amateur</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|genre=Film_amateur</div></td></tr>
</table>Marion.brunhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=11229&oldid=prevMarion.brun le 6 juin 2019 à 14:092019-06-06T14:09:53Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 6 juin 2019 à 14:09</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Etat_publication=Non</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Etat_publication=Non</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|apercu=LFS01413_6_Winter.jpg</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieux_ou_monuments=Phillipsburg</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieux_ou_monuments=Phillipsburg</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieuTournage=49.24232, 8.45433</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|lieuTournage=49.24232, 8.45433</div></td></tr>
</table>Marion.brunhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=10714&oldid=prevKay Hoffmann le 27 mars 2019 à 15:482019-03-27T15:48:20Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 27 mars 2019 à 15:48</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|son=Muet</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|son=Muet</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|duree=00:01:37</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|duree=00:01:37</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|genre=Film_amateur</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|genre=Film_amateur</div></td></tr>
</table>Kay Hoffmannhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=10567&oldid=prevMarion.brun le 22 mars 2019 à 08:182019-03-22T08:18:06Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 22 mars 2019 à 08:18</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|institution_dorigine=Haus des Dokumentarfilms</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|institution_dorigine=Haus des Dokumentarfilms</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|coloration=Couleur</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|coloration=Couleur</div></td></tr>
</table>Marion.brunhttps://rhinedits.u-strasbg.fr/w/index.php?title=Winter_(LFS01413_6)&diff=10544&oldid=prevKay Hoffmann le 22 mars 2019 à 07:522019-03-22T07:52:35Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Version du 22 mars 2019 à 07:52</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|institution_dorigine=Haus des Dokumentarfilms</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|institution_dorigine=Haus des Dokumentarfilms</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|coloration=Couleur</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|coloration=Couleur</div></td></tr>
</table>Kay Hoffmann