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Mashup, short films and special effects, the innovation of Cinema.
 



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Today scenario writers treat the numerical images and elements exactly as the DJ treated the sounds in the years 80-90. they carry out mashups. 

These mixtures of images, sounds and special effects, take part in this art of recycling following the example Sample of the DJ and Loops of the programmers, 
the image filmeds by others are re-used in clips which have atmospheres different from original works.

 HELL’S CLUB. Antonio Maria Da Silva. AMDS FILMS.

There is a place where all fictional characters meet. . Outside of time, Outside of all logic, 
This place is known as HELL’S CLUB, But this club is not safe…

 

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 Antonio Maria Da Silva in Hell' s Club brings together the characters of the films worships in a discotheque with environment a little baroque and rather surrealist. 

Thus the Tom Cruise of mission impossible look it’s double much younger of cocktail in a strange manner, Terminator is at side the characters of star war, Al Pacino crosses De Niro in what becomes 
a new work with a clean atmosphere and a new scenario.

There exists a whole world between John Travolta of Grease and that of Pulp Fiction. 

In Hell' S Club 2, another night, Sigourney Weawer of Alien is accompanied by Harrison Ford of Indiana Jones in a very surrealist cocktail, different James Bond follow one another until Aliens attack… 

The practice of this mixture of kind is reassuring because the spectator knows films 
and recognizes the scenes. 

HELL’S CLUB 2. ANOTHER NIGHT. 
Antonio Maria Da Silva. AMDS FILMS.

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The mashup as it is practiced here is a frame of mind dependant on the nature even of Internet, its history, 
its uses and its practices. 

The raw material of the mashup is information digitized in the broad sense (videos, photographs, music and sounds). The place where are held the mashups of Antonio Maria Da Silva the Hell’s club, is important because it connects the universe of the Cinema and that of the music with its uses of the sampling and the remix. 

Many person use the mashup to pay homage to films of kind like science fiction 
or to other person who preceded them. 

It is the step of Jeff Yorkes with : CINEMASHUP - Le Pomme. 
Tribute to Jean-Pierre Jeunet and the film Amelie Poulain.

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It is also that of Fabrice Mathieu with Master off Suspense. Tribute off Alfred Hitchcock.

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The French Julien Lahmi carried out : Mashupcinema.com site, an encyclopedia of the mashup 
and films created with images carried out by others or it present 
its selections and its own achievements. See here

At the beginning this interactive activity is developed in the world of the video game by 
the mods which make it possible to modify the characters 
and the aspects of a game by the player himself.

The short films of numerical animation as the latter are also called the machinimas 
(contraction of machine, cinema and animation).

With the Cinema, resulting from short-films, the mashup and special effects have their history. 

In 1980 the Polish realizer Zbigniew Rybczynski carries out Tango. 

Tango is a true bomb in the medium of short-film, in 1983 it obtains the Oscar of the best short-film of animation. Tango can be regarded as the ancestor of the maschup, or its precursor, 
and yet 1980 it is not yet the digital age. 

In fact the force of Tango it is that Rybczynski in 1980 fact already the numerical 
one before the numerical one, by using loops and small scenes without any 
report the ones with the others and who are ad infinitum repeated…

Tango.(1980). Zbigniew Rybczynski. Best short-film of animation in 1983. 

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On bottom of a throbbing music of Tango of the characters go and come to the screen and the spectator, intrigued at the beginning, wonders truly what it occurs and where one wants to come from there. 

The use of loops and the repetition of small scenes which are repeated induce a faintness quickly because the characters do what they have to do and do not deal with the others. 

The scenes do not have any relationship between them and it is established a climate of dehumanization which one also unfortunately meets in the true life. 

Let us pass on the surrealist dimension of this work which is however real and note with the reflection that our brain or that of a creator can be also taken along to function thus. 

How is connected the ideas the ones with the others ? At which speed ? 

Which report have they enters they ? 

In certain circumstances our brain functions as in Tango, our thought is not always controlled, 
we always do not control all, a little as in a dream and this subject and this awakening can quickly become a source of anguish. 

Thus if the idea of a life without humanity is suggested in Tango the idea of death appears too. 

And at the bottom which a creator or an artist makes if is not to fight against death and the lapse of memory…
 
True visionary, Zbigniew Rybczynski invents in Tango the art of the special effects. Born in 1949 he becomes then professor of cinematography and numerical cinema. 

Currently it undertakes research on the technique of incrustation: Key Chroma, 
or green/blue screen at Ultimatte Corporation. 

The numerical one became the last projection of the cinema and the faking and the use of the special effects revolutionize the art of the cinema completely. 

But this report should not us be prevented from evoking the history and if we can show you the consequences we will not save to you the origin of these ideas and the history of the thought and the reflection on the image and the cinema.

In 1929 Luis Bunuel, carries out a Andalusian Dog, written by Salvador Dali. 

At the time this mini film is completely new. It tries out the force of the image and seeks 
as of the beginning to shock the spectator.

Bunuel and Dali invent the fantastic one with the cinema in the dimension of film of horror. 

The account is completely dislocated by fast changes of places and by under titles which indicate temporal jumps several years ahead or behind. S

ometimes the two principal characters, the man and the woman, appear to form a happy couple, 
but they are also buried alive and the prey of insects. 

One thus finds the old demons of Dali who haunt these paintings, to start with the ants

Luis Bunuel, Salvador Dali. a Andalusian Dog. 1929. 

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The strangeness of the unit is deliberately oneiric, according to the surrealist principle defined by André Breton in it’s proclamation of surrealism. 

In a Andalusian dog, dreams and reality are two tensions 
complementary often in fight: “ I believe in the future resolution of these two states, seemingly so contradictory, which are the dream and reality, in a kind of absolute reality, a surreality… ” 
André Breton. 

Today the use of the special effects is the pretext to evoke universes a little merrier 
and lights which make us smile. 

Thus see how Barnaby Roper in Scratch-N-Sniff suggests, not without humor, a certain erotic thought 
by using assembly and special effects. 

Scratch-N-Sniff. Barnaby Roper. 2016. 

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