Creo que Rave es mi tema preferido de El Mañana… Sí, creo que sí.
Jack White’s debut solo album, Blunderbuss, is out April 24. Listen to the first single here.
Listen! Listen to low-key first single “Love Interruption” above.
(Source: pitchfork)
Have a look at “Putin’s Kiss” trailer, World Cinema Documentary Cinematography Award Winner at Sundance 2012.
Synopsis
Masha Drokova is a rising star in Russia’s popular nationalistic youth movement, Nashi. A smart, ambitious teenager who—literally—embraced Vladimir Putin and his promise of a greater Russia, her dedication as an organizer is rewarded with a university scholarship, an apartment, and a job as a spokesperson. But her bright political future falters when she befriends a group of liberal journalists who are critical of the government, including blogger Oleg Kashin, who calls Nashi a “group of hooligans,” and she’s forced to confront the group’s dirty—even violent—tactics.
In her first feature, Danish filmmaker Lise Birk Pedersen offers a chilling view of modern Russia, its fragile—perhaps illusory—democracy, and Nashi’s alarmingly fascist tendencies (mass rallies, book burnings, “patriotic education,” and vilification of opponents). But, distinguished by an artful, cinematic aesthetic and astonishing intimacy, the film’s emotional weight lies in the evolution of Masha’s political consciousness. Putin’s Kiss reminds us that all politics are deeply personal.
SOM HIVERN
Uzzle Burk, Winter Park, Central Park, New York, 2000
Reblogged from proustitute with 101 notes
Redefining Interactive Narratives & Multimedia Storytelling
Some good insights into interactive storytelling by @drewvigal, multimedia editor at @nytimes
Accompany this with a recent interactive story we produced at The New York Times (more on this later), and I’m inspired to write this overdue post on my contributions to the conversation at AIGA-Pivot. It’s an opportunity to share some of my thoughts on what excites me today about interactive storytelling and the projects we are producing on the multimedia desk.
This past summer, Julie Beeler from Portland’s Second Story interactive studio graciously invited me to be on the Storytelling is Design and Design is Storytelling affinity session in Phoenix. I was honored to be a part of an impressive lineup, and it was apropos to be invited by Julie, as it was the work of her and partner Brad Johnson that inspired me to tell, explain and innovate in the space of Interactive Narratives.
Before we go down this interactive path, let me start with the importance of linear storytelling. An excellent story is often compelling because of its layers. Each layer reveals a new concept or an arc that compels the reader or viewer to continue their narrative journey. A cross-section of a sequoia tree, for example, is a visual way to show the layered life-cycle of a tree … in a linear fashion.
I can appreciate a well-told, impeccably paced linear story with complex layers. Books, movies and documentary films have been doing amazing and beautiful storytelling for decades, if not centuries. A number of sites and organizations, including i-Docs and DocLab, have helped in collecting some of the new work in the interactive documentary space.
And there are well-executed and well-told linear stories today in the multimedia space. I’m extremely proud of the recent work we’ve done at The Times, including the beautifully shot and edited Vanishing Minds, Lives Restored & A Year at War series.
Even before joining The Times in 2006, I launched Interactive Narrativesto capture the best of online visual storytelling as practiced by journalists and storytellers from around the world. I included “narrative” in the site’s title because I wanted the site to reflect the sentiment and thought of storytelling but not necessarily confine the collection to journalism. The term “interactive” helps define the viewer’s experience. But over the years, I’ve grown to appreciate that the interaction is not just about the users’ experiences but it’s equally about the interplay of story elements to enhance the package in non-linear layers.
I’m also inspired by how video games push the interactive narrative form. Beyond Pong, video games use storytelling to keep players engaged, peeling new layers in the arc as one “levels up” in the game.
Today, players are more accustomed to exploring a world outside the structured narrative. Take Super Mario Bros. A player could essentially zoom through the structured narrative on ground level. But what makes the game more compelling is the ability to take Mario through tunnels, underground caverns or even in the clouds to explore tangent story lines.
In the Grand Theft Auto series, the narrative structure widens even more as players have the ability to roam through the entire city landscape.
Pivot to Interactive Narratives in the journalism and documentary space. Are there opportunities to engage readers/viewers with multi-layered, non-linear stories? During my presentation, I quote an Indian saying about education that goes:
This diagram evolved from an earlier one from 2009.
This diagram changes based on the elements of the story and forms available. The length of the narrative or the size of the circles may change. The circles of “sidebars,” if you will, are tangent to the main narrative and have obvious in-and-out points to the main storyline. The fine line between discovery and confusion can be resolved by thoughtful visual design.
Here are a few examples of how The Times’ multimedia desk applied this type of story form to a number of stories and interactives; the media that carried the main narrative is noted in parentheses:
- A Boy Learns to Brawl (text)
- Autistic and Seeking a Place in an Adult World (text)
- Better Lives for Mexicans Cut Allure of Going North (text)
- Loss and Healing in Norway (audio)
- Haiti: The Shattered Year (audio)
- The Debt Trap
These sidebars are less about the story form and presentation/design and more about the experience and narrative flow. Imagine a written story or a video script written specifically to engage the reader/viewer in an interactive sidebar, or a sidebar that encourages a user to take a quiz, engage with an interactive graphic or offer their thoughts on Twitter or Facebook … or giving a reader/viewer a chance to go to a physical space and experience the story through an augmented reality presentation.
Now things can get interesting.
NFB of Canada’s website is always full of surprises. Here’s a portrait of Grierson, the man who coined the term “documentary film”.
This feature film is a portrait of John Grierson, the first Canadian Government Film Commissioner and founder of the National Film Board in 1939.
Interweaving archival footage, interviews with people who knew him and footage of Grierson himself, this film is a sensitive and informative portrait of a dynamic man of vision.
Grierson believed that the filmmaker had a social responsibility, and that film could help a society realize democratic ideals. His absolute faith in the value of capturing the drama of everyday life was to influence generations of filmmakers all over the world.
In fact, he coined the term “documentary film.”
Semper Fi: Always Faithful
When Master Sgt. Jerry Ensminger lost his 9 year old daughter to a rare type of leukemia, he wondered why. When the first hint of evidence about polluted wells at Marine Corps Base Camp Lejeune surfaced, he feared he had his answer. But he needed proof. Using unclassified documents, military contacts, and other victims, he began his search for truth, justice, and healing. His intelligence, intuition and “Marine spirit” brings this eco-detective story to light as he discovers the true horror that the Pentagon is the nation’s single biggest polluter and the top-down cover-up is only the beginning. This dramatic, heart-breaking documentary is both a searing look at the military’s betrayal of its own and an emotional story of one man’s transformation into the activist he never imagined he’d become.
(via #ArtistServices Now Playing: Semper Fi: Always Faithful)
¿Cual muñeco es el malo?
Sería interesante hacer algo parecido en España. Estos días de que estuve en Girona he quedado impactada del nivel altísimo de racismo en España, especialmente en lo que se refiere a la admisión de entrada en las discotecas. Una vergüenza que, además, nunca se denuncia.
