ganzen film – English Translation – Keybot Dictionary

  www.implenia.com  

Show textShow cached sourceOpen source URL	Wählen Sie links einzelne Filmsequenzen zum Spezialtiefbau oder schauen Sie direkt den ganzen Film.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine implenia.com as primary domain	Select individual film sequences about foundation engineering on the left or watch the entire film directly.

  angola.unfpa.org  

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Die Melodien der Musiker waren aus alten Volksliedern geboren, aber die Musik selbst ist die Musik entsprechend den Themen der alten Runenlieder. Tuule sah zunächst einmal den ganzen Film, improvisierte dann ziemlich lange, später wählten wir Teile der Musik für den Film.

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It was truly hard work! We made many different lists: the plants that are most often mentioned in old sayings and texts, those that are used in present-day Europe, those that are most often grown and gathered today etc. Setting these lists beside each other we at last made the final choice. One point was also to achieve a visual variety. And yet one and the other beautiful plant had to be left out. For instance there wasn’t room for my beloved cornflower – it is good for the eyes – in the film. We did record some cuts, just in case, but the final selection turned out differently.

  db-artmag.com  

Show textShow cached sourceOpen source URL	Between Visible and Invisible – Zwischen dem Sichtbaren und dem Unsichtbaren – der Titel dieser Serie scheint programmatisch für das gesamte Werk der Fotografin. Yonedas Arbeiten verweigern sich jeder eindeutigen Lesart. Es sind Fotografien, die mit einem Bild einen ganzen Film erzählen können.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain	Between Visible and Invisible, the title of this series seems programmatic for the photographer's entire oeuvre. Yoneda's work defies any one unequivocal interpretation. These are photographs in which a single picture has the power to invoke an entire film.

  www.db-artmag.com  

Show textShow cached sourceOpen source URL	Between Visible and Invisible – Zwischen dem Sichtbaren und dem Unsichtbaren – der Titel dieser Serie scheint programmatisch für das gesamte Werk der Fotografin. Yonedas Arbeiten verweigern sich jeder eindeutigen Lesart. Es sind Fotografien, die mit einem Bild einen ganzen Film erzählen können.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain	Between Visible and Invisible, the title of this series seems programmatic for the photographer's entire oeuvre. Yoneda's work defies any one unequivocal interpretation. These are photographs in which a single picture has the power to invoke an entire film.

  db-artmag.de  

Show textShow cached sourceOpen source URL	Between Visible and Invisible – Zwischen dem Sichtbaren und dem Unsichtbaren – der Titel dieser Serie scheint programmatisch für das gesamte Werk der Fotografin. Yonedas Arbeiten verweigern sich jeder eindeutigen Lesart. Es sind Fotografien, die mit einem Bild einen ganzen Film erzählen können.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Between Visible and Invisible, the title of this series seems programmatic for the photographer's entire oeuvre. Yoneda's work defies any one unequivocal interpretation. These are photographs in which a single picture has the power to invoke an entire film.

  www.tormin-lighting.com  

Show textShow cached sourceOpen source URL	Ja, ich will den ganzen Film sehen
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  pedalforhumanity.eu  

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Anousheh’s grossartige Reise wird von ihr selbst im Off kommentiert und ergänzt. Sie zieht sich wie ein Bogen durch den ganzen Film. Für die «Bodengeschichten» jedoch suchte ich eine Art Reiseleiter. Und es lag auf der Hand, mit Jonas zu arbeiten.

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Anousheh provides her own voice-off commentary for her fantastic journey, creating a leitmotif through the entire film. For the story «on the ground», however, I needed a kind of travel guide. And Jonas was the obvious choice. As a young photographer during the collapse of the Soviet Union, he spent seven years on the fringes of the once-enormous empire, documenting the forsakenness and isolation of daily life in these remote enclaves. In 2000, he was the one who uncovered the story of the Kazakh scrap metal collectors, and to date he is the only professional to ever have taken photos of them.

  www.db-artmag.de  

Show textShow cached sourceOpen source URL	Between Visible and Invisible – Zwischen dem Sichtbaren und dem Unsichtbaren – der Titel dieser Serie scheint programmatisch für das gesamte Werk der Fotografin. Yonedas Arbeiten verweigern sich jeder eindeutigen Lesart. Es sind Fotografien, die mit einem Bild einen ganzen Film erzählen können.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain	Between Visible and Invisible, the title of this series seems programmatic for the photographer's entire oeuvre. Yoneda's work defies any one unequivocal interpretation. These are photographs in which a single picture has the power to invoke an entire film.

  www.iis.fraunhofer.de  

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Für eine Vorschau kann direkt auf die Mediendaten im Package zugegriffen werden. Hat der Nutzer den gewünschten Film gefunden, so kann er den ganzen Film oder auch nur Ausschnitte in dem für seine Anwendung am besten geeigneten Format bestellen.

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Metadata can be automatically extracted from the IAP and can be transferred into a database for online access. The user can search using these metadata to find the desired material. For preview direct access to the media data within the package is possible. Having found the desired movie, the whole motion picture or only the footage can be ordered in the necessary and suitable data format. Again an automated process generates a Dissemination Package out of the IAP for download or streaming. The advantage is that different user whether it is a movie theater, a broadcast station or a private user group can be served out of the same data base.

  recicat.org  

Show textShow cached sourceOpen source URL	Ob in Gaststätten oder Bars, in künstlerisch oder wohnlich angehauchten Lokalitäten - fast jede Eventlocation in München bietet auch die Möglichkeit, einen ganzen Film oder Szenen desselben zu drehen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine munich-eventlocations.de as primary domain	Whether in restaurants or bars, in artistic or homely-inspired venues - almost every venue in Munich offers also the possibility to rotate an entire movie or scenes of the same. Also you will find the one or other location that provides accessories for a conference or a seminar, about Beamer and screen, or whiteboards.

  www.hoteldluis.pt  

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Ich suchte nach Kompositionsmöglichkeiten. Es sollte auch etwas von Berlin zu sehen sein. Ich habe einen ganzen Film verknipst, 36 Bilder, und bin in der Nacht zum 3. Mai nach Moskau geflogen, und das Foto ist sofort veröffentlicht worden.

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When the war began, everbody talked about the Reichstag. It was at the early morning of 2nd May 1945. I entered the Reichtag building. Terrible noise was all around. A young soldier came towards me. I held a red flag in my hand. He said: ‘Lieutnant, dawai, let’s climb onto the roof with the flag.’ ‘That’s why I’m here.’ Finally, we were on the roof. The Reichstag was burning. He said: ‘Let’s climb onto the dome.’ ‘No’, I said ‘we would be smoked and burned up there.’ ‘Well, then let’s try it here.’ We found a long pole. I looked for possibilities of composition. Something of Berlin should be visible. I took a whole film, 36 pictures, and over night I flew to Moscow and the photo was published, immediately.

  rode.fi  

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Verlassene unterirdische Tunnel, herumliegende Teile der Militärflugzeuge, auffallend schwarze Fensterlöcher der Plattenbauten – all diese Zeugnisse ergeben einen ganzen Film zum Thema „Siegesgang des Fortschritts im Dienst des Gesellschaftsnutzens“.

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The first stop on Sergey Shestakov’s journey was Chernobyl and Pripyat, where he created a testament to nuclear nightmare. The second stop is in the village of Gudym, near Anadyr, the capital of Chukotka. In Gudym, also known as Anadyr-1, the secret facility ’C‘ was built in 1958. An underground depot for nuclear weapons built by decree of Nikita Khrushchev, who once threatened the US saying, “We also have rockets on Chukotka !” It was part of the Russian nuclear umbrella. Rockets and explosives were stored in the granite mountain of Gudym. Since 1986 nuclear weapons started to be removed from the facility. The facility was finally dissolved in the 1990s. The military abandoned it in 2002.Today, it remains the “city without a name”, a realm of entropy.

  www.sitesakamoto.com  

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Also, wenn Femto angewendet auf den Punkt und der Block würde mehr als ein Jahr, um den ganzen Film zu sehen!!! Mit Femto kann durch die Ecken und innerhalb des Körpers ohne Röntgen ersichtlich (Ramesh am www.ted.com Video empfehlen eine bessere Anpassung an diesen Durchbruch)

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MIT is a source of intrigue in many novels and real inspiration for Humanity. Dr. Edgerton Home, who makes 50 year froze the image of a bullet through an apple. Ramesh Raskar Today he got the same but with a beam of light through a bottle of Coca-Cola, Freezes and how a ray of light? The answer is Femto, technology capable of creating a trillion frames per second. So if Femto applied on the bullet and the block would take over a year to see the whole movie!!! With Femto can be seen through the corners and inside the body without X-ray (Ramesh recommend at www.ted.com video to better assimilate this breakthrough)

  eipcp.net  

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Um die konstruktive Montage zu unterstreichen, verwandelt Steyerl dieses neue Wissen – dass es ein gewinnträchtiges Leben nach dem Crash gibt – in ein Ding: Wir sehen die Explosion auf einem kleinen DVD-Player vor der Kulisse eines Flugzeugwracks. Dieses Bild wird durch den ganzen Film geistern; es ist sein Frontispiz.

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It is to such a site of recycling that Hito Steyerl takes us. With pristine HD steadicam footage, she visits Mojave Air and Space Center, a scrapyard under a piercingly blue California sky where airplanes come to die. A jolly captain with a pearl studded cap and a wheelchair cart becomes the entrepreneurial Virgil, the informant who leads us through their afterlife. He tells us about his business ever since the Chinese started buying scrap. “Every time there’s a dip in the economy, it’s windfall to us,” he says, surrounded by profitable ghosts. The montage of the footage breaks the interviewee’s own narrative into discrete, even disjointed units, conscious cracks and jumps in speech. They reinforce the double identification of the airplane graveyard as a site of economic catastrophe then transformed into a Hollywood soundstage: the graveyard’s owner first uses the gutted airplane carcasses for special effects explosions (boom, away she goes, he says, as we see the ball of flame on a perfect day, a Hollywood image that repeats again and again). And then he sells the remains, the raw aluminum. The “vicious situation of the economy” is a profitable explosion. He understands, he knows: “you’re making money no matter what you sell.” To reinforce the constructive edit, Steyerl transforms this new knowledge - namely that there is a profitable life after the crash - into a thing: we see the explosion on a small DVD-player, playing against the backdrop of airplane wreckage. It is an image that will haunt the whole film, its frontispiece. Machine pincers crunch their way through aluminum sheeting, providing the soundtrack for ongoing images of catastrophe, caught in slow motion, overwritten by an electronic shofar. Is this for real, asks the captain.

  2 Hits www.larosadeivini.com  

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"Aus den 5760 möglichen Einstellungen, die das Schema generiert, kamen für den Film nur ein Bruchteil zur Anwendung; und zwar alle diejenigen, die auf einer bestimmten ellipsenförmigen Bahn um das Stativzentrum lagen ... Linear fortgesetzt ergibt das eine Figur, in der die Bildbahn nach sechs 360-Grad-Umläufen zu ihrem eigenen Ausgangspunkt zurückkehrt. Auf diesen sechs linearen horizontalen Umläufen finden gleichzeitig fünf vollständige Zoomabläufe statt ... Die Entscheidung für diese Bildbahn hat noch keine unmittelbare Auswirkung auf die später sich im Film manifestierenden Bewegungsformationen. Für die Filmkomposition ist nur die aktuelle Folge der einzelnen Bilder entscheidend. Sie liegen zwar alle auf der Bildbahn, folgen ihr aber nicht linear. Die aktuelle Bildfolge in SCHENEC-TADY III: Die Partitur baut neben dem Einzelbild als kleinster Einheit auf distinkte Einheiten von sechs Bildern auf. Dieser Sechs-Bilder-Rhythmus bleibt den ganzen Film über unverändert beibehalten: Auf je sechs zusammenhängende positive Einzelbilder folgen sechs zusammenhängende negative Bilder ...".

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“Only a fraction of the 5,760 possible shots generated by the schema were used in the film; and these were all those that lay on a particular elliptical course around the center of the tripod…Continued in a linear fashion, this creates a figure in which the course of images returns to its starting point after six 360 degree cycles. On these six linear horizontal cycles there are simultaneously five complete successions of zooms…The decision for this course of images does not yet have any immediate effect on the formations of movement that will later become manifest in the film. The only decisive factor for the film composition is the active sequence of individual images. They do place everything into the flow of images, but they do not follow it in a linear fashion. The active succession of images in SCHENEC-TADY III: The score, alongside the individual image as the smallest unit, is based on distinct units of six images. This six image rhythm remains unchanged over the entire film: every six connected positive individual images are followed by six connected negative images…”

  transversal.at  

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Um die konstruktive Montage zu unterstreichen, verwandelt Steyerl dieses neue Wissen – dass es ein gewinnträchtiges Leben nach dem Crash gibt – in ein Ding: Wir sehen die Explosion auf einem kleinen DVD-Player vor der Kulisse eines Flugzeugwracks. Dieses Bild wird durch den ganzen Film geistern; es ist sein Frontispiz.

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It is to such a site of recycling that Hito Steyerl takes us. With pristine HD steadicam footage, she visits Mojave Air and Space Center, a scrapyard under a piercingly blue California sky where airplanes come to die. A jolly captain with a pearl studded cap and a wheelchair cart becomes the entrepreneurial Virgil, the informant who leads us through their afterlife. He tells us about his business ever since the Chinese started buying scrap. “Every time there’s a dip in the economy, it’s windfall to us,” he says, surrounded by profitable ghosts. The montage of the footage breaks the interviewee’s own narrative into discrete, even disjointed units, conscious cracks and jumps in speech. They reinforce the double identification of the airplane graveyard as a site of economic catastrophe then transformed into a Hollywood soundstage: the graveyard’s owner first uses the gutted airplane carcasses for special effects explosions (boom, away she goes, he says, as we see the ball of flame on a perfect day, a Hollywood image that repeats again and again). And then he sells the remains, the raw aluminum. The “vicious situation of the economy” is a profitable explosion. He understands, he knows: “you’re making money no matter what you sell.” To reinforce the constructive edit, Steyerl transforms this new knowledge - namely that there is a profitable life after the crash - into a thing: we see the explosion on a small DVD-player, playing against the backdrop of airplane wreckage. It is an image that will haunt the whole film, its frontispiece. Machine pincers crunch their way through aluminum sheeting, providing the soundtrack for ongoing images of catastrophe, caught in slow motion, overwritten by an electronic shofar. Is this for real, asks the captain.

  www.infoxgen.com  

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So beginnt ihre Selbstfindung, die als Leitmotiv die ganze Geschichte trägt. Wir folgen Louise nicht nur durch ihren Alltag, sondern erleben sie in Träumen, Rückblenden und durch ihre Erzählstimme (die im ganzen Film präsent ist) auch als Kind und junge Frau.

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It is the end of the holidays at the small French seaside village of Biligen-sur-Mer and the tourists finally make their way home with the last train of the season. All are gone except one old lady, Louise, who fails to make it on time and is left behind. Although she feels at first abandoned, scared and confused by the new situation, as the days go by she progressively acquires self-confidence and discovers to possess some handy survival skills: she builds a shelter on the beach and even grows her own vegetables. This is the beginning of a journey of self-discovery, which is the leitmotif of the entire story. Not only do we follow her in her daily activities but, through a series of dreams, flashbacks and Louise’s own narrative voice (present all along the film as a voice-over), we also uncover scenes from her childhood and life as a young woman.This animated film is a poetic and intimate tale that allows us to perceive different and at times antithetical aspects of ageing. Besides, it partly draws inspiration from Jean-François Laguionie’s own feelings and memories, sharing therefore also some autobiographical elements. In an interview, the author explains how some of the scenes make a reference to his own childhood in the aftermath of WWII: like Louise, he went living with his grandmother in the countryside, close to the sea. The high cliffs swept by the wind, the thick woods and the ruined houses that made up his personal playground are indeed all present in the film. The strong and personal relationship between the director and the subject of the movie prompted him to pick up his brush again and to hand-draw the decors on grain paper.The film premiered in 2016 at the festival of Annecy and has since been enchanting the audience all around the world. (sa)