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Aiòn#001_dcp version

Synopsis: 
Director: Marco Rocca (aka _mar.core)
Producers: Stella Sollai, Marco Rocca ___

Aiòn#001_dcp version is a work about of the A/V performances by _mar.core dedicated to Sven Nykvist and Ingmar Bergman. this new edition of Aiòn#oo1_DCP_2k scope_5.1 was drafted specifically for use in film festivals and it adapts to the standard techniques of digital cinemas. the audio parts have been extracted from the most significant live performances,including the binaural beat frequencies and maintaining the format in 5.1 surround to allow the public to enjoy the characteristic "three-dimensional sound" of the live Aiòn#oo1. the video parts contained in the three simultaneous projections used during live, were mounted on a single screen using the large size scope of the movie format. 

more info on: www.marcore.altervista.org

___Notes about the live A/V performances___

The images from the films of Bergman live my memory since the most remote memoirs of the infancy: transmitted by the telefunken valves-television … that one with the angles of the screen rounded off. Subsequently I have realized that the strength of their presence was not only determined by the nostalgia for a distant period. Those images contained something that went over the individual subjectivity: the archetype.  

The preliminary phases of the research focused to the induction of a deep emotional flow that have contributed to the realization of Aiòn, had brought me to consider that every musical composition contains a series of cultural references that somehow address and limit it at the same time. After a first approach of subtraction and re-contextualization of the audio samples, it has seemed to me that the use of the BBF binaural beat frequencies, besides their intrinsic abilities of perceptive induction, it offered also the possibility to expel the last cultural element: the recognizableness of the musical instruments.  

Using a similar process in the editing of the video that would have accompanied the performance, I realized that the evocative strength of the images of Nykvist-Bergman was unchanged independently from the re-contextualization process. The images, also being referable to the native context, set free from the narrative necessity, they acquired an ampler and deeper evocative universality.  

At the same time, really thanks to the fact that every single frame produced by Nykvist-Bergman is absolutely unmistakable, I had the possibility to make as evident as the creative process is in reality always of a work of assemblage. Both if the sources are clear or reside in the most secluded meander of the subconscious it doesn't do any difference: we can elaborate only what it already exists and from we have allowed to visit us.

I am very fascinated from the absolutely contemporary possibility offered by the digital conversion to enter a boundless quantity of "sources": perhaps this will may help to make more comprehensible and accessible, also to the not employees, the debt of Beethoven towards Mozart or that of Puccini towards both. This, is understood, not to diminish the work of anybody but, contrarily, to increase its diffusion out of some traditional ways of presentation. It seems to me that the very same structure of internet, with its characteristic links of hypertext connections, suggests a way of learning that has become no more sequential neither sectorial.  

After the sets of Aiòn it has happened to me to talk with different people that knew few or nothing Bergman and that after the performance manifested to me instead an unexpected curiosity for his work. I have to confess my great satisfaction for this small and unintentional contribution, and I like to think that Sven and Ingmar, from up there, smiles pleased. 

mar.core 

Runtime: 
00.47.00
Information for the Audience: 
Director: Marco Rocca (aka _mar.core)
Writers: Marco Rocca
Producers: Stella Sollai, Marco Rocca______

Aiòn#001_dcp version is a work about of the A/V performances by _mar.core dedicated to Sven Nykvist and Ingmar Bergman. this new edition of Aiòn#oo1_DCP_2k scope_5.1 was drafted specifically for use in film festivals and it adapts to the standard techniques of digital cinemas. the audio parts have been extracted from the most significant live performances,including the binaural beat frequencies and maintaining the format in 5.1 surround to allow the public to enjoy the characteristic "three-dimensional sound" of the live Aiòn#oo1. the video parts contained in the three simultaneous projections used during live, were mounted on a single screen using the large size scope of the movie format. 

more info on: www.marcore.altervista.org

___Notes about the live A/V performances___

The images from the films of Bergman live my memory since the most remote memoirs of the infancy: transmitted by the telefunken valves-television … that one with the angles of the screen rounded off. Subsequently I have realized that the strength of their presence was not only determined by the nostalgia for a distant period. Those images contained something that went over the individual subjectivity: the archetype.  

The preliminary phases of the research focused to the induction of a deep emotional flow that have contributed to the realization of Aiòn, had brought me to consider that every musical composition contains a series of cultural references that somehow address and limit it at the same time. After a first approach of subtraction and re-contextualization of the audio samples, it has seemed to me that the use of the BBF binaural beat frequencies, besides their intrinsic abilities of perceptive induction, it offered also the possibility to expel the last cultural element: the recognizableness of the musical instruments.  

Using a similar process in the editing of the video that would have accompanied the performance, I realized that the evocative strength of the images of Nykvist-Bergman was unchanged independently from the re-contextualization process. The images, also being referable to the native context, set free from the narrative necessity, they acquired an ampler and deeper evocative universality.  

At the same time, really thanks to the fact that every single frame produced by Nykvist-Bergman is absolutely unmistakable, I had the possibility to make as evident as the creative process is in reality always of a work of assemblage. Both if the sources are clear or reside in the most secluded meander of the subconscious it doesn't do any difference: we can elaborate only what it already exists and from we have allowed to visit us.

I am very fascinated from the absolutely contemporary possibility offered by the digital conversion to enter a boundless quantity of "sources": perhaps this will may help to make more comprehensible and accessible, also to the not employees, the debt of Beethoven towards Mozart or that of Puccini towards both. This, is understood, not to diminish the work of anybody but, contrarily, to increase its diffusion out of some traditional ways of presentation. It seems to me that the very same structure of internet, with its characteristic links of hypertext connections, suggests a way of learning that has become no more sequential neither sectorial.  

After the sets of Aiòn it has happened to me to talk with different people that knew few or nothing Bergman and that after the performance manifested to me instead an unexpected curiosity for his work. I have to confess my great satisfaction for this small and unintentional contribution, and I like to think that Sven and Ingmar, from up there, smiles pleased. 

mar.core 

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