Analysis





French Website

Share |

 


Mashup Shy'm. Tamara dance ! 

 

 



Mashup, short films and special effects, 
the innovation of Cinema.
 



To send this page to a friend

 

Today scenario writers treat the numerical 
images and elements exactly as the 
DJ treated the sounds in the years 
80-90. they carry out mashups. 

These mixtures of images, sounds and 
special effects, take part in this art 
of recycling following the example Sample 
of the DJ and Loops of the programmers, 
the image filmeds by others are re-used in 
clips which have atmospheres 
different from original works.

 HELL’S CLUB. Antonio Maria Da Silva. 
AMDS FILMS.

There is a place where all fictional characters meet. . 
Outside of time, Outside of all logic, 
This place is known as HELL’S CLUB, 
But this club is not safe…

 

Full Screen :

 Antonio Maria Da Silva in Hell' s Club 
brings together the characters of the 
films worships in a discotheque with 
environment a little baroque 
and rather surrealist. 

Thus the Tom Cruise of mission 
impossible look it’s double much 
younger of cocktail in a strange manner, 
Terminator is at side the characters of star war, 
Al Pacino crosses De Niro in what becomes 
a new work with a clean atmosphere 
and a new scenario.

There exists a whole world between John Travolta 
of Grease and that of Pulp Fiction. 

In Hell' S Club 2, another night, Sigourney 
Weawer of Alien is accompanied by Harrison Ford 
of Indiana Jones in a very surrealist cocktail, 
different James Bond follow one another 
until Aliens attack… 

The practice of this mixture of kind is reassuring 
because the spectator knows films 
and recognizes the scenes. 

HELL’S CLUB 2. ANOTHER NIGHT. 
Antonio Maria Da Silva. AMDS FILMS.

Full Screen :

The mashup as it is practiced here is 
a frame of mind dependant on the 
nature even of Internet, its history, 
its uses and its practices. 

The raw material of the mashup is 
information digitized in the broad sense 
(videos, photographs, music and sounds). 

The place where are held the mashups 
of Antonio Maria Da Silva the Hell’s club, 
is important because it connects the universe 
of the Cinema and that of the music with its 
uses of the sampling and the remix. 

Many person use the mashup to pay homage 
to films of kind like science fiction 
or to other person who preceded them. 

It is the step of Jeff Yorkes with : CINEMASHUP - Le Pomme. 
Tribute to Jean-Pierre Jeunet and the film Amelie Poulain.

Full Screen :

It is also that for Quentin Tarantino.

Full Screen :

The French Julien Lahmi carried out : 
Mashupcinema.com
site, an encyclopedia 
of the mashup and films created with 
images carried out by others or it present 
its selections and its own achievements. See here

At the beginning this interactive activity 
is developed in the world of the video game by 
the mods which make it possible 
to modify the characters 
and the aspects of a game 
by the player himself.

The short films of numerical animation a
s the latter are also called the machinimas 
(contraction of machine, cinema and animation).

With the Cinema, resulting from short-films, 
the mashup and special effects have their history. 

In 1980 the Polish realizer Zbigniew 
Rybczynski carries out Tango. 

Tango is a true bomb in the medium 
of short-film, in 1983 it obtains the Oscar 
of the best short-film of animation. 

Tango can be regarded as the ancestor 
of the maschup, or its precursor, 
and yet 1980 it is not yet the digital age. 

In fact the force of Tango it is that 
Rybczynski in 1980 fact already the numerical 
one before the numerical one, by using 
loops and small scenes without any 
report the ones with the others and 
who are ad infinitum repeated…

Tango.(1980). Zbigniew Rybczynski. 
Best short-film of animation in 1983. 

Full Screen :

On bottom of a throbbing music of Tango 
of the characters go and come to the screen 
and the spectator, intrigued at the beginning, 
wonders truly what it occurs and where 
one wants to come from there. 

The use of loops and the repetition of 
small scenes which are repeated induce 
a faintness quickly because the characters 
do what they have to do and do not 
deal with the others. 

The scenes do not have any relationship 
between them and it is established a 
climate of dehumanization which one 
also unfortunately meets in the true life. 

Let us pass on the surrealist dimension 
of this work which is however real and 
note with the reflection that our brain 
or that of a creator can be also 
taken along to function thus. 

How is connected the ideas the ones 
with the others ? At which speed ? 

Which report have they enters they ? 

In certain circumstances our brain functions 
as in Tango, our thought is not always controlled, 
we always do not control all, a little as in 
a dream and this subject and this awakening 
can quickly become a source of anguish. 

Thus if the idea of a life without humanity is 
suggested in Tango the idea of death appears too. 

And at the bottom which a creator or an artist 
makes if is not to fight against death 
and the lapse of memory…
 
True visionary, Zbigniew Rybczynski invents 
in Tango the art of the special effects. 

Born in 1949 he becomes then professor 
of cinematography and numerical cinema. 

Currently it undertakes research on the 
technique of incrustation: Key Chroma, 
or green/blue screen at Ultimatte Corporation. 

The numerical one became the last projection 
of the cinema and the faking and the use of 
the special effects revolutionize the 
art of the cinema completely. 

But this report should not us be prevented 
from evoking the history and if we can 
show you the consequences we will not 
save to you the origin of these ideas and 
the history of the thought and the 
reflection on the image and the cinema.

In 1929 Luis Bunuel, carries out a 
Andalusian Dog, written by Salvador Dali. 

At the time this mini film is completely new. 
It tries out the force of the image and seeks 
as of the beginning to shock the spectator.

Bunuel and Dali invent the fantastic one with 
the cinema in the dimension of film of horror. 

The account is completely dislocated by 
fast changes of places and by under titles 
which indicate temporal jumps 
several years ahead or behind. 

Sometimes the two principal characters, 
the man and the woman, appear 
to form a happy couple, 
but they are also buried alive 
and the prey of insects. 

One thus finds the old demons of Dali  
who haunt these paintings, to start with the ants

Luis Bunuel, Salvador Dali. a Andalusian Dog. 1929. 

Full Screen :

The strangeness of the unit is deliberately 
oneiric, according to the surrealist principle 
defined by André Breton in it’s proclamation of surrealism. 

In a Andalusian dog, dreams and 
reality are two tensions 
complementary often in fight: “ I believe 
in the future resolution of these two 
states, seemingly so contradictory, 
which are the dream and reality, in a kind 
of absolute reality, a surreality… ” 
André Breton. 

Today the use of the special effects is the 
pretext to evoke universes a little merrier 
and lights which make us smile. 

Thus see how Barnaby Roper in Scratch-N-Sniff 
suggests, not without humor, a certain erotic thought 
by using assembly and special effects. 

Scratch-N-Sniff. Barnaby Roper. 2016. 

Full Screen :

 HomePage  Newsletter  Analysis   Movements  
Painters
  Kinds  Techniques  History   
Museums
  Exposures   Galleries   Artists    
Plays
  Advertisements  Shop  
Contact us
  
Who are us? 
 Bonds