Andreas Project Proposal: Difference between revisions
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Metahaven – The Sprawl | Metahaven – The Sprawl | ||
Nowadays, films live in a thousand and one forms on the internet. As short trailers, fragments, cloud-based copies of copies, endangered data, self-hosted vaults, and so on. Viewing cinema on a laptop screen is only possible when remembering that such an experience has little to do with cinema itself. As a hybrid, episodic documentary, “The Sprawl”‘s story isn’t linear. The film lends itself to be seen as a succession of impressions—a trailer, forever unfinished; the duration of each of those video pieces, or “shards,” is attuned to an attention span that is less cinema, and more internet. | The project explores the mutation of propaganda in the age of social media, with a particular focus on how the diffuse, networked circulation of messages through these channels affects how we read, interpret, and understand events. | ||
Quote from http://sprawl.space/about-the-sprawl/ | |||
''Nowadays, films live in a thousand and one forms on the internet. As short trailers, fragments, cloud-based copies of copies, endangered data, self-hosted vaults, and so on. Viewing cinema on a laptop screen is only possible when remembering that such an experience has little to do with cinema itself. As a hybrid, episodic documentary, “The Sprawl”‘s story isn’t linear. The film lends itself to be seen as a succession of impressions—a trailer, forever unfinished; the duration of each of those video pieces, or “shards,” is attuned to an attention span that is less cinema, and more internet.'' | |||
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Revision as of 21:46, 10 October 2019
Inspiration:
Metahaven – The Sprawl
The project explores the mutation of propaganda in the age of social media, with a particular focus on how the diffuse, networked circulation of messages through these channels affects how we read, interpret, and understand events.
Quote from http://sprawl.space/about-the-sprawl/ Nowadays, films live in a thousand and one forms on the internet. As short trailers, fragments, cloud-based copies of copies, endangered data, self-hosted vaults, and so on. Viewing cinema on a laptop screen is only possible when remembering that such an experience has little to do with cinema itself. As a hybrid, episodic documentary, “The Sprawl”‘s story isn’t linear. The film lends itself to be seen as a succession of impressions—a trailer, forever unfinished; the duration of each of those video pieces, or “shards,” is attuned to an attention span that is less cinema, and more internet.