Videooptagelse

This is a full account of the dazzling Technicolor years that turned the screen from silver to every color of the rainbow. Here in one volume are the films, the stars, the showmen and all the elements behind the phenomenon that changed movies forever. Beautiful film stills and rare behind-the-scenes photos taken on the sets of memorable Technicolor movies highlight the personalities and stories behind the making of the movies. From the long struggle to bring perfect color to motion pictures, to the restoration of classic features and the evolution of digital technologies, Technicolor has redefined the movie-going experience.--From publisher description.

Zweisprachige Ausgabe (deutsch/englisch) / Bilingual edition (English/German) Vertauschte Köpfe erscheint begleitend zur ersten gemeinsamen Ausstellung der Brüder Andreas Mühe und Konrad Mühe im KUNSTWERK Sammlung Klein. Wie können sich zwei Brüder, die unterschiedlicher nicht sein könnten, auf Augenhöhe begegnen und ihre Arbeiten in Einklang bringen? Was sie eint, ist die intensive Auseinandersetzung mit der Familiengeschichte. Unterschiede ergänzen sich: Während sich der eine mit der Verwobenheit von Familiengeschichte und deutscher Geschichte beschäftigt, bearbeitet der andere das Verhältnis von menschlichen und technologischen Körpern sowie deren politische Subtexte in der Gegenwart. Gleich einer Familie, die sich unterschiedliche Geschichten übereinander erzählt, greift der Katalog die verschiedenen Zeitebenen und Erzählstränge auf. So enthält Vertauschte Köpfe gleich mehrere Bücher, die sich aufeinander beziehen und gegenseitig herausfordern: Die Arbeiten von Andreas und Konrad Mühe treten in Wechselbeziehung mit Texten von Valeria Waibel, Karsten Ehlers, Monika Maron, Kito Nedo und einem Comic von Gregor Hinz. Es schwebt die Frage im Raum: Wie fest ist der Untergrund des gemeinsamen Fundaments?

Notes from the Underdog/Anotações sobre o Abaixo de Cão untersucht Formen von Raumaneignung und landwirtschaftlicher Praxis, die in der Folge der Finanzkrise von 2011 in der Stadt Porto (Portugal) entstanden sind. Das Buch erzählt die Geschichten von zehn Gärten und ihrer Betreiber, die städtische Brachflächen wieder nutzbar gemacht haben, um sich mit dem Anbau von Obst und Gemüse selbst zu ernähren. Dafür haben sie Infrastrukturen wie Bewässerungssysteme, Anbau-, Recycling- und Kompostierverfahren und Speicherbauten entwickelt sowie eigene Werkzeuge hergestellt. Die Gärten, die vornehmlich der eigenen Versorgung dienen, sind auch Orte der Erholung und Freizeit. Alexandre Delmar, geboren 1982 in Porto, ist Fotograf und Videokünstler. Luís Ribeiro da Silva, geboren 1982 in Porto, ist Architekt. Er hat an der ETH Zürich promoviert. Margarida Quintã, geboren 1981 in Porto, ist Architektin. Sie hat an der EPF Lausanne promoviert. Joaquim Moreno, geboren 1973 in Luanda, ist Architekt. Er hat an der Princeton University promoviert. John Wriedt ist Architekt und Autor.-Notes from the Underdog/Anotações sobre o Abaixo de Cão looks at agricultural practices and the appropriation of space in the city of Porto, Portugal, and the different ways in which this phenomenen has manifested in the aftermath of the financial crisis 2011. The book recounts the stories of ten gardens and the people running them, who have resuscitated urban brownfield sites by growing fruit and vegetables on them as a source of food. To achieve this end, they have developed infrastructures like watering and irrigation systems and methods of cultivation, recycling, and composting, while also building storage structures and producing their own tools. Although the gardens are primarily about people providing for themselves, they also lend themselves to recreation and leisure activities.Alexandre Delmar, born 1982 in Porto, is a photographer and video artist. Luís Ribeiro da Silva, born 1982 in Porto, is an architect with a doctorate from ETH Zurich. Margarida Quintã, born in Porto, is an architect with a doctorate from EPF Lausanne. Joaquim Moreno, born 1973 in Luanda, is an architect with a doctorate from Princeton University. John Wriedt is an architect and writer.

Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework's application to media and multimodality analysis.

Although recent linguistic and media-studies' research has increasingly dealt with forms of imagery beyond language, such as in audiovisual formats, only little attention has been paid to the specific media character of audiovisual images. This raises a theoretical as well as methodological problem: How can processes of figurative meaning making in audiovisual media be adequately conceptualized and described? The book intends to bridge this research gap with an analysis of campaign commercials, a hitherto largely underexplored object of study in metaphor and metonymy research. To achieve this goal, a transdisciplinary film-analytical and cognitive-linguistic account of audiovisual figurativity is developed and examined through a comparative analysis of figurative meaning-making processes in German and Polish campaign commercials from 2009 and 2011. By setting the inseparable intertwining of language and cinematic staging, sensing and understanding center stage, the book provides insight into the dynamic nature and embodied affective grounds of audiovisual figurativity, and challenges the long-known dichotomies of rational discourse and affective manipulation, political message and media effect.