‘Sunny Afternoon’ By Thomas Renoldner


Sunny Afternoon the confrontation of ‘kind of’ an avant garde movie with ‘kind of’ a music video, placing questions on the usual taboos, and clichés of various movie ‘genres.’ Both avant garde movie and music video use music and sound ‘typical for his or her style.’”

Film by Thomas Renoldner, Austria, 2012. Says the filmmaker:

Sunny Afternoon has two most important movie elements. The first half is type of a “found footage” movie, utilizing solely 16 photographs of a easy motion shot in 1992, and explores the richness of attainable variations and mixtures of this very restricted supply materials. This movie additionally follows a “visual music” idea, when every photograph of the motion is related to at least one exact tone of a twelve-tone-scale. Thus the construction of the pictures defines the musical construction. At the identical time this movie half provides uncommon humoristic parts to this often extra educational style of ‘structural film.’

The second movie half in SUNNY AFTERNOON intends to interrupt a few of the typical guidelines of classical avant-garde movie; it enjoys a extra intuitive workflow, permits virtually kitschy sequences reminiscent of time-lapse photographs of clouds on a blue sky or playful experiments with 4 totally different, rotating black chairs. This movie half additionally combines quite a lot of totally different methods like drawings (animated and nonetheless), images, time lapse images, rotoscopy, object animation, pixilation, and partly combines these methods. Thus it explores totally different ranges of depiction: pictures of actuality, illustration of actuality, phantasm, and even abstraction and in that method thinks concerning the particular prospects and meanings of the inventive picture.

Sunny Afternoon is predicated on the lyrics of a track composed 25 years in the past and brings a movie challenge to an finish, which had first began 20 years in the past; at the moment the primary script and the photographs for the primary movie half have been made. So in fact this self-portrait can also be a mirrored image about time. A brief introduction provides a number of pictures of the writer roughly 20 years earlier than the primary movie half, and the closing picture, rigorously drawn by Adrienn Kiss, imagines how the writer may appear to be 20 years after movie half two.

Learn extra concerning the movie and see discussions concerning the brief on the filmmaker’s website.



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