VIDEOBERICHTERSTATTUNG | DV-FILME | TEXTE ZUM THEMA | ARCHIV 2002
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Der erste Ausflug des großen Avantgardisten Ernie Gehr in die Welt des DV-Films. Mit Hilfe eines Mini-Digital-Recorder unternimmt er einen Rückblick auf das Maschinenzeitalter am Beispiel des Musée Mecanique in San Francisco, das bald seine Pforten schließen wird. Knapp eine Stunde lang dokumentiert Cotton Candy diese ehrwürdige Sammlung münzbetriebener mechanischer Spielzeuge – inklusive eines ganzen Zirkus – hauptsächlich in Nahaufnahmen. [aus dem Forumprogramm] QUESTIONNAIRE 1 How would you describe the aesthetics of your film? In part, I would describe Cotton Candy as an ironic yet affectionate tone-poem reflecting upon aspects of 20th Century popular culture, aging, as well as some of the incoming forces (in popular culture) of the late 20th/early 21st Century. 2 Why did you choose to shoot on dv? It seemed very apropos the work itself. I used dv as a "young" medium sort of observing the phenomena under consideration. On "film" I would have approached it quite differently. 3 What was special about shooting in dv (e.g.compared to 35mm, was it your first time with dv or are you used to it)? Lightness of equipment and the possibility of extended takes (though there are very few long in the final piece). This was my first use of dv. 4 What was your shoot-edit ratio? Approx. 2 1/2 to 1. 5 Would you have preferred to shoot in another format? If so which? Yes, one with higher resolution, yet affordable as well as small and compact. I find the cost and design of "professional" camcorders not affordable or suitable for my working purposes. 6 Does using dv mean that you are considering other means of distribution opposing the established? If so which? Distribution is a matter I have not been able to resolve yet. I have completed four pieces over the last two years, but unlike with my films, none are in distribution. 7 One good word about dv (or two): I do not have to deal with labs and I can work at home. I also like its less dramatic (than film) character. 8 One bad word about dv (or two): Contrary to industry hype, unless you are at the screening to make corrections, you depend upon the subjective judgement of the projectionist. Your green apples may look blue in one place, red at another and yellow at the next place. Even if you are there, due to the limitations of the equipment, you may not be able to do much. Also, with film, 16mm is 16mm, whether in Europe or elsewhere. With dv, you have to live with the problems and horrors of going from NTSC to PAL or SECAM, etc. Very modernistic, indeed (not to mention the costs involved). [zurück zur DV-FILM ÜBERSICHT] [nach oben] |
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