{"id":161,"date":"2014-09-10T13:58:54","date_gmt":"2014-09-10T13:58:54","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/audiovisualessay\/?page_id=161"},"modified":"2014-09-15T08:23:54","modified_gmt":"2014-09-15T08:23:54","slug":"henrike-lindenberger","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/reflections\/intransition-1-3\/henrike-lindenberger\/","title":{"rendered":"HENRIKE LINDENBERGER"},"content":{"rendered":"<h2><strong>On ALPHAVILLE &#8211; THE CRYSTAL MAZE<\/strong><\/h2>\n<p><strong>By Henrike Lindenberger<br \/>\n<\/strong><\/p>\n<p style=\"padding-left: 30px;\">Curated at<a href=\"http:\/\/mediacommons.futureofthebook.org\/intransition\/2014\/09\/14\/idea-concept\" target=\"_blank\"> <strong>[in]Transition<\/strong>, 1.3, 2014<\/a> by <a href=\"http:\/\/mediacommons.futureofthebook.org\/intransition\/2014\/09\/14\/idea-concept\" target=\"_blank\"><strong>Cristina <span dir=\"ltr\">Alvarez L\u00f3pez<\/span><\/strong><\/a><\/p>\n<p style=\"padding-left: 30px;\"><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/103333753?title=0&amp;byline=0&amp;portrait=0&amp;color=6b1307\" width=\"640\" height=\"524\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"padding-left: 60px;\">Alphaville is a place separated from the outer countries. A futuristic place where people no longer have feelings but live in a machine-like state.<br \/>\nThe idea of this audiovisual essay on Jean-Luc Godard\u2019s 1965 <em>Alphaville<\/em> was to show the isolation and the science-fictional character of Alphaville, which I found in the architecture. The essay tries to reveal the movement through a city that seems to be a maze of invisible walls, surrounded by a crystal membrane. [<a href=\"https:\/\/vimeo.com\/103333753\" target=\"_blank\">HL<\/a>]<\/p>\n<h2><strong>The Audiovisual Essay as Lego Construction<\/strong><\/h2>\n<p><strong>By Henrike Lindenberger<\/strong><\/p>\n<p>A picture tells more than a thousand words \u2013 that is what I (re)discovered for myself through creating\u00a0my first audiovisual essay on Jean-Luc Godard\u2019s <em>Alphaville<\/em>: expressing things by only using split seconds of a sequence.<\/p>\n<p>To relate what you yourself see in a film, select scenes and sequences, put them back together and show an aspect of a film that strikes you \u2013 what in the first place sounded like no big deal put me into quite a work process.<\/p>\n<p>I noticed so many things that I did not know how to put them together, or even where to begin. So, there were a bunch of long sequences straying in my editing program, striving to find a partner sequence to blend in with.<\/p>\n<p>I felt like doing as I did as a child, crushing the masterly Lego construction of my brother, and trying to put all those single pieces back together in a somehow adequate way.<\/p>\n<p>Then I started reducing and cutting, axing those sequences to a minimum \u2013 and recognising that this is just what the process needs.<\/p>\n<p>I really managed to construct something new, something that came from myself out of that pile of Lego pieces.<\/p>\n<p>If you ask me what I was actually thinking while doing this, I cannot reply. Things came from intuition, just like you know where to draw something on a picture without mathematically measuring the golden section.<\/p>\n<p>Going from obvious themes like darkness and light or black and white that immediately catch your eyes when watching Godard\u2019s <em>Alphaville<\/em> for the first time, to blinking signs and light sources. That is what led me to architecture. I noticed the effect all the glass entries, illuminated windows and facades have, and discovered it has quite an impact on the whole film. Glass being a metaphor for separation of the inside from the outside, which is a major topic in the film, although one never sees the actual \u201coutside\u201d \u2013 the outer countries. I found that the architecture stands for that issue, like a miniature world.<\/p>\n<p>And that is what attracted me doing this type of film analysis: making an audiovisual essay is like looking for synonyms and metaphors that the filmmaker has used to express a semantic question (or simply the plot) in the small things you would not consider when watching the film only once; but, somehow, those are the things that settle in your unconsciousness and make you see a film in the way you see it.<\/p>\n<p>It is like a game in which you uncover a director\u2019s stylistic devices by not only writing down that you noticed them, but showing them with the director\u2019s own work \u2013 only in your way.<\/p>\n<p>I learned to use all elements of a film (sound and visuals) and experiment with them to create a message.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Henrike Lindenberger is a student at Goethe University, Frankfurt.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>\u00a9 Henrike Lindenberger August 2014<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><i>Edited by Adrian Martin and Catherine Grant<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On ALPHAVILLE &#8211; THE CRYSTAL MAZE By Henrike Lindenberger Curated at [in]Transition, 1.3, 2014 by Cristina Alvarez L\u00f3pez Alphaville is <a class=\"more-link\" href=\"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/reflections\/intransition-1-3\/henrike-lindenberger\/\">Continue Reading<span class=\"screen-reader-text\">HENRIKE LINDENBERGER<\/span><span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":120,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-161","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P4VcpT-2B","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/comments?post=161"}],"version-history":[{"count":7,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/161\/revisions"}],"predecessor-version":[{"id":743,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/161\/revisions\/743"}],"up":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/pages\/120"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/audiovisualessay\/wp-json\/wp\/v2\/media?parent=161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}