inspirational-vids-blog

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EVERYTHING IS IN YOUR HANDS

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(via https://www.youtube.com/watch?v=T_MXa9enUfE)

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(via https://www.youtube.com/watch?v=QpR_UZz-BS4)

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(via https://www.youtube.com/watch?v=MKD0jY5l86A)

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Just Dance: Empty - NOWNESS

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The Subtle Knife

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SIDEKICK (2016) A short film by Jeff Cassidy.

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(via https://www.youtube.com/watch?v=pTptxpcYySI)

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(via https://www.youtube.com/watch?v=FJNAvyLCTik)

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Site voor de recente film Michiel de Ruyter

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Music has always been an excellent source of inspiration. Particularly if you are stuck with some problem you can’t find a workaround for, a beautiful song can give you a new perspective, let you see the problem from a different angle. And sometimes it’s just useful to make a break — for instance, watching some music videos. In this post we present some unusual music videos for your monday’s coffee break. Some of the videos are thought-provoking, some of them are funny and some are bizarre. While many of them are well-known, you’ll probably find some videos you’ve never watched before. The videos all perfectly to the music which is being played in the background. Hopefully, everyone will find something new and inspiring for himself/herself. Please notice that you might need to watch some videos at least twice to get the idea behind them. You might want to read the descriptions of the videos — they are provided below every link. The screenshots often don’t reveal that much about the videos they stand for.

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DIRECTORS CUTS: TOP 5 CHARLIE CHAPLIN MOVIES

At one point, one of the biggest stars in the whole wide world, silent film’s iconic Little Tramp, Charlie Chaplin, soon became such a big draw that he directed everything he did, which included dozens of short films and eleven features. His attention to detail and penchant for perfection became so notorious that he would take years to make movies, and even got overtaken by the advent of talkies in one famous instance. But, his films are some of the best-plotted, most touching, funniest, and most well-remembered of any comedies of the 1920s-1950s. He was a true auteur in every sense of the word and co-founded United Artists as a respite from the studio system. Golly, he was great. Here are my top 5 of his films.

The Kid (1921) Chaplin’s first feature as a director also happens to be one of his best and his saddest. A complete ode to 1920s poverty, Chaplin’s Tramp character lives in a shack, eats garbage, and generally hasn’t a care in the world, until he begrudgingly decides to take care of a baby abandoned by its rich mother in the back of an expensive car. The Tramp names the child “John” and for the next five years, he raises him, and eventually making the kid an integral part of his grifting. But, soon child services get wind of a kid being raised by a tramp and they come to take him to an orphanage. The rest of the movie is the two trying to be together in happy squalor and the Man not allowing it. It’s heartbreaking and good.

The Great Dictator (1940) A startlingly political film made at a time when Chaplin’s adopted homeland of the U.S. was still not at war with Nazi Germany, Chaplin’s first full-fledged talkie was also a huge condemnation of Adolf Hitler, Mussolini, Fascism, antisemitism, and the Nazi party as a whole. It was also Chaplin’s most financially successful film. Chaplin used the world noticing that his Tramp character’s specific mustache bore more than a slight resemblance to the charismatic German chancellor, as well as his own perceived Judaism (he wasn’t Jewish) and decided to play that up for both laughs and poignancy. He plays dual roles, as the frothing dictator Adenoid Hynkel of the fictional European country of Tomainia, and as his doppelgänger, a humble Jewish barber who once saved the life of a now-high-ranking official in the dictator’s regime. Through a series of mix-ups, the barber finds himself in a place dressed as Hynkel and made to give a speech. That speech is possibly one of the greatest monologues of all time, especially for a man known for saying nothing onscreen at all. This is the movie Rogen and Franco only wished they’d tried to emulate back in December.

3) The Gold Rush (1925) I love this one because it’s possibly the one of Chaplin’s movies that makes me laugh most unabashedly and sustained. It’s got some of the comedian’s most beloved bits and silliest moments. It involves the Little Tramp as a prospector in the harsh winter of the Klondike during the eponymous time when men tried to strike it rich. He lives in a tiny shack on the top of a precipice which eventually starts to fall off during a horrible windstorm. Chaplin was one of the silent era’s funniest and most versatile physical comedians, and while he was never as acrobatic as Buster Keaton or Harold Lloyd, he sure knew how to sell a gag. His famous dance with the rolls was so popular at the time that audiences would demand projectionists stop the film to respool and show the minute-long segment again.

2) Modern Times (1936) A condemnation of Hitler certainly wasn’t Chaplin’s first foray into political and social satire in the guise of his comedies; the film that directly preceded it was an attempt to skewer the industrialized world and comment on The Great Depression, which Chaplin saw as a direct result of machines now putting people out of work. The Little Tramp is a worker in a massive clock-work conveyor belt whatever while being subjected to many of the indignities of modern living. After a series of unfortunate events that get him fired, arrested, released as a hero, and unemployed again, the Tramp meets a young woman (Paulette Goddard who would become Chaplin’s third wife) who is living on the streets and who is trying to incite the workers of the world to go on strike. At one point during the proceedings, the Tramp gets a job as the night watchman of a department store and sneaks the girl in there to get a chance at “the good life.” It’s one of Chaplin’s most impressive sequences in a film full of huge sets and physical humor.

1) City Lights (1931) This one has always been my favorite Chaplin, and I think it’s because it’s him at his most romantic. It’s also perhaps the film that best encapsulates the spirit of his Tramp character, trying to have what he wants in a world that seems intent on allowing him nothing. He falls in love with a blind flower girl and doesn’t tell her he’s completely destitute, but wants more than anything to get her the surgery that will restore her sight. At the same time, the Tramp becomes friends with a very alcoholic millionaire who gives the beggar anything he wants while he’s loaded, but has no memory of this friendship when he’s sober. Makes for very frustrating plan-making on the part of our hero. This is a movie that never fails to make me smile and it’s one that I can always put on and be completely engrossed in and taken by.

~ Posted by Kyle Anderson

Link to article

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Films maken (boek)

~ Roemer Lievaart

Films maken is hét boek voor elke ambitieuze amateurcineast en voor elke toekomstige professionele film- en televisiemaker. Of je nu een beginner bent die nog overweegt een camera aan te schaffen of een semi-professional die met een complete crew met filmlampen en hengelmicrofoons aan de slag wil: een completer leerboek is nauwelijks denkbaar.

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Charlie Chaplin - Factory Work

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Le Voyage Dans la Lun (A Trip to the Moon) by Georges Méliès (1902)

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George Méliès

Maries Georges Jean Méliès was born in Paris in 1861 and from a very early age he showed a particular interest in the arts which led, as a boy, to a place at the Ecole des Beaux Arts in Paris where Méliès showed particular interest in stage design and puppetry.

In 1884, Méliès continued his studies abroad, in London at the request of his parents - they insisted he learn English after which they intended him to work at his father’s footwear business. While in London, he developed a keen interest in stage conjury after witnessing the work of Maskelyne and Cooke.

On his return to Paris he worked at his father’s factory and took over as manager when his father retired. His position meant that he was able to raise enough money to buy the famous Theatre Robert Houdin when it was put up for sale in 1888.

From that point on Méliès worked full time as a theatrical showman whose performances revolved around magic and illusionist techniques which he studied while in London as well as working on his own tricks.

When the Lumière brothers unveiled their Cinématographe to the public on December 28 1895 Méliès was a member of the audience. What he witnessed clearly had a profound effect upon him. After the show he approached the Lumière Brothers with a view to buying their machine - they turned him down.

Determined to investigate moving pictures, Méliès sought out Robert Paul in London and viewed his camera - projector building his own, soon afterwards. He was able to present his first film screening on April 4th 1896.

Méliès began by screening other peoples films - mainly those made for the Kinetoscope but within months he was making and showing his own work, his first films being one reel, one shot views lasting about a minute.

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Méliès’ principle contribution to cinema was the combination of traditional theatrical elements to motion pictures - he sought to present spectacles of a kind not possible in live theatre.

In the Autumn of 1896, an event occurred which has since passed into film folklore and changed the way Méliès looked at filmmaking. Whilst filming a simple street scene, Méliès camera jammed and it took him a few seconds to rectify the problem. Thinking no more about the incident, Méliès processed the film and was struck by the effect such a incident had on the scene - objects suddenly appeared, disappeared or were transformed into other objects.

Méliès discovered from this incident that cinema had the capacity for manipulating and distorting time and space. He expanded upon his initial ideas and devised some complex special effects.

He pioneered the first double exposure (La caverne Maudite, 1898), the first split screen with performers acting opposite themselves (Un Homme de tete, 1898), and the first dissolve (Cendrillon, 1899).

Méliès tackled a wide range of subjects as well as the fantasy films usually associated with him, including advertising films and serious dramas. He was also one of the first filmmakers to present nudity on screen with “Apres le Bal”.

Faced with a shrinking market once the novelty of his films began to wear off, Méliès abandoned film production in 1912. In 1915 he was forced to turn his innovative studio into a Variety Theatre and resumed his pre-film career as a Showman.

In 1923 he was declared bankrupt and his beloved Theatre Robert Houdin was demolished. Méliès almost disappeared into obscurity until the late 1920’s when his substantial contribution to cinema was recognised by the French and he was presented with the Legion of Honour and given a rent free apartment where he spent the remaining years of his life.

Georges Méliès died in 1938 after making over five hundred films in total - financing, directing, photographing and starring in nearly every one.