![]() For a full calendar of events, please click here. News from Ideological Antiquity is part of Marx Now, a three-week series of events organized by the Goethe-Institut New York in partnership with Anthology Film Archives and the Brooklyn Institute for Social Research. Cinematize 3 Pro - theres also a non-Pro version, but more on that later - lets you extract audio and video clips off of any unencrypted DVD and save them in formats compatible with applications such as iMovie, QuickTime, Final Cut (Pro and Express), PowerPoint, and iTunes. Nachrichten aus der ideologischen Antike: Marx – Eisenstein – Das Kapitalįilmedition suhrkamp, Frankfurt am Main, 2008 ![]() The Captain Lied at the 57th Art Biennale in Venice. Cinematize Pro 3.0.3. Select clip using the new improved preview and decide options for video, audio, subtitle, and output. In 2017, together with Thomas Demand, Anna Viebrock and Udo Kittelmann, he presented the transmedia exhibition project The Boat is Leaking. With Cinematize 3, DVD clip extraction is a piece of cake. They use Cinematize 2 Pro to accomplish a wide range of projects including re-editing DVDs, incorporating DVD clips. At the German Film Awards in 2008, he received the honorary prize for outstanding contributions to German film. ![]() With movies such as Yesterday Girl (1966) and his involvement in the collective film Germany in Autumn (1978), Alexander Kluge is one of the most important representatives of New German Cinema (Neuer Deutscher Film). Conversations with Hans Magnus Enzensberger, Boris Groys, Oskar Negt, Werner Schröter, Peter Sloterdijk, and many others, a built-in short film by T om Tykwer, and an extra with Helge Schneider yield entirely different perspectives of Capital.Īt the Goethe-Institut, Kluge’s News from Ideological Antiquity will be shown in full extension and, corresponding with the DVD edition, in three parts: The project was never realized.Įighty years later, Alexander Kluge launches an investigation into whether Capital can be adapted at all and commentates Eisenstein’s monumental scheme in filmic miniatures on Marx’s theory, which, to us, is as near and as far as antiquity. New cinema uses montage to develop one perspective from several plots.” For Eisenstein, this perspective was presumably capital itself. Where ‘ancient cinema’ had a linear narrative, he wants to develop a ‘spherical dramaturgy’: “In ancient film, a plot was told from different perspectives. But how can one capture money, commodity, profit, and capital on screen, when what is at stake is not content but the abstract forms of all manner of things, human beings, and relationships? He has in mind the use of completely new forms, derived from James Joyce’s Ulysses: ‘faits divers’, ‘emotional bundles’, and series of ‘dialectical images’. The challenge emanating from such a work, Eisenstein believes, will radically transform the history of cinema. ![]() Eisenstein, who revolutionized the language of film with Battleship Potemkin (1926), wants to ‘cinematize’ Marx’s book. “I have decided to adapt Capital based on Karl Marx’s scenario,” writes Sergei Eisenstein on October 12, 1927. ![]()
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