For the Dutch Film Festival (NFF) for instance, the Gold or Platinum film status was shown, which is awarded to films that attract a great number visitors. Are there no reviews yet because the film is not released yet? Camera Postura defaults to a short plot in case there isn’t any review available.Ĭustom labels Some films deserve a special label.
#Fragments movie movie
Movie reviews What is a poster without reviews? Camera Postura shows one or two reviews per generated poster (depending on the available space) from the review selection. The title finishes the poster, and gives it a unique look. Movie title The movie title is rendered in a typeface that fits the style or content of the movie and it is the only typographic element of the poster which is animated. The posters consist of the following elements: When they hold the pose for some seconds they generate a new, personal and unique poster. Users can try out, or imitate poses to get their favourite clips on the screen. Overview of some of the generated posters by Camera Postura. Context is challenged and new narratives are pieced together from fragments, triggering the mind in new ways.
Essentially you are the playhead, cutting a path through vast amounts of imagery. You use your hands and body to search through the archive. Navigator In a more functional form, motion tracking can also be used as a navigation tool. A posture initiates a search request, a movement a transition between two films and information then reveals itself insofar as it is given a body - the user’s.
#Fragments movie archive
The database is reincarnated - becoming endowed with the archive and cinema’s bodily dimension - while films are endued with the archive’s collage-like structure - jumping across all scenes and shots alike. By transforming the ‘filmbase’ into a mirror that is responsive to the body as a whole, the experience of the films and the one of their selection are “folded” together. The point of departure was the idea to explore the inherent cinematic quality of the database, while pushing film away from its linear self. Each path within the database is amplified by cinematic expansions of color values and acoustic enhancements that trigger nothing but a fiction of mastery - fiction that obnubilates the actual experience of the archive. Yet, databases precisely lack this embodied, strolling dimension.
Unforeseen associations emerge as one navigates them, recalling the action of strolling across some archive with its associated lot of discoveries. While films tend to be linear, databases are more unpredictable. You make a movement and that movement is repeated in film.
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