Notice bibliographique
Résumé
From early in his career, the German independent Matthias Muller has made films in conversation with the history of cinema. Sometimes his work is purposely reminiscent of earlier films. Sleepy Haven (1993), for example, evokes several landmarks of Queer cinema-particularly Kenneth Anger's Fireworks (U.S.A., 1947) and Jean Genet's Un Chant d'amour (France, 1952)-as a context for a cinematic meditation on ocean voyaging, the body as romantic continent, and the filmstrip as psychic flesh. Home Stones (1990) recycles imagery of women in Hollywood films, recorded off a television screen, to create a revealing and amusing moment of meta-film noir. Alpsee (1994) is Muller's depiction of the childhood of a creative young boy, living alone with his mother-and an homage to Douglas Sirk's American films and their imaging of the gorgeous repression of bourgeois life. The series of six videos called Phoenix Tapes (1999), co-made with Christoph Girardet, provides an interpretive tour through the work of Alfred Hitchcock. And the recent Mirror (co-made with Girardet, 2003) recalls Michelangelo Antonioni's films. Muller's conversation with cinema has been much involved with the materiality of the media in which he works. Early on Muller worked with Super-8mm, exploring the possibilities of hand-processing his own footage in a series of films culminating in Aus derFerne-The Memo Book (1989), his psychodrama of coming to grips with the death of a former lover. By the 1990s he was also working in 16mm. Indeed, Alpseeand Pensao Globo (1997), his depiction of a young man with AIDS who is torn between memory and mortality, are particularly gorgeous 16mm films. By the late 1990s Muller was also exploring video and 35mm film. The Phoenix Tapes are Betacam videos; as are Beacon (co-d. Girardet, 2002), an evocation of life after trauma; and both Manual (co-d. Girardet, 2002) and Play (co-d. Girardet, 2003), inventive found-footage pieces that focus, respectively, on cinematic relics of earlier technologies and the filmic depiction of film and theater audiences, nebel (2000), Muller's stunning homage to Ernst Jandl's poetry-which along with Rick Hancox's Waterworx (A Clear Day and No Memories) (Canada, 1982) is the most impressive translation of a poet's work to film that I'm aware of-was shot in 35mm, though it includes imagery from other gauges. And Mirror (2003) is a digital video that can be presented as a Cinemascope film. Muller has also made still photographs and DVDs for exhibition as installations in art galleries. Muller is an independent filmmaker, not simply in the traditional sense that he is independent of the movie business (except for the fact that he frequently recycles the Hollywood product), but in a more general sense: increasingly he sees himself as independent of conventional filmic categories, even of the category of itself. He positions himself somewhere in between commercial filmmaking and or experimental filmmaking; between filmmaker and video artist; and, like Shirin Neshat and Sharon Lockhart, somewhere between the film world and the art world. Paradoxically, Muller's success in making independent work that is distinctive and personal has often depended on his careful choice of collaborators, especially composer/musician, Dirk Schaefer; media-maker/ writer, Mike Hoolboom; and video artist, Christoph Girardet. This interview was conducted entirely by E-mail, with the assistance of translator Allison Plath-Moseley, beginning in April of 2004. I sent questions to Muller, he sent answers in German to Plath-Moseley, and she sent translations to me, which I edited and returned to Muller for corrections. Scott MacDonald: Were movies important for you as a child? And if so, which movies and movie experiences are most memorable for you? At what point in your development did you begin seeing avant-garde films? Matthias Muller: Although I'm part of the first generation that was socialized through media from kindergarten on, I really did not grow up with movies and television. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,004 | 0,015 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,014 | 0,008 |
| Communication savante | 0,005 | 0,006 |
| Science ouverte | 0,002 | 0,005 |
| Intégrité de la recherche | 0,003 | 0,011 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,005 | 0,002 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».