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 22:46, 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.