This is my first short film with the Icelandic film school. It was made after a 3 week Documentary cors, and about 2 weeks of work.
The long name of the film is Reykjavík: : Die Symphonie der Großstadt (ore Reykjavík: Symphony of a Great City)
The Film is made after big influens in the Walther Ruttmann Film Berlin : Die Symphonie der Großstadt from 1929, witch can be found on <strike>Google Video</strike> this arcive pages on this link ore maybe by googling the name.
This was a group project, as you can se on the credit lists.
My second 16 mm film for the class "Sight and Sound: Film" in the Kanbar institute of film and television in the Tisch School of the Arts at New York University.
In this class, we were put into groups of four, given an Arri-S 16 mm film camera from 1952 and given 30 days to make 25 films as a group. Basically, we were shooting a minute-long short every day. In the class, we learned the principles of pre-production, cinematography, directing, editing, lighting, sound recording and much more.
This film is a dream sequence that features lots of cool effects. This film is an allegory for the way that NYU made a lot of the kids who applied for Tisch go through the Liberal Studies Program for a year before letting them take film classes. It really hurts when you are an artistic person but have no art classes for a whole year.
My fourth 16 mm film for Sight and Sound: Film in the Kanbar institute of film and television of the Tisch school of the arts at NYU.
I love working with media that's hand-made, and so I wanted to pay tribute to the Steenbeck flatbed editing machine, which is sadly falling out of use as digital editing becomes the norm. The film was shot on an Arri-S 16 millimeter camera with kodak film and cut by hand on a Steenbeck. I took sound effects from the Steenbeck room and cobbled them together into a version of Raymond Scott's classic jazz composition "Powerhouse." (With the help of Daniel LaCosse, of course). The music was recorded onto magnetic tape and synced on the Steenbeck. All the while, I felt like I was channeling a media pioneer from the 30s or something.
I wanted to show a character playing a Steenbeck like a musical instrument. I chose to use Raymond Scott's "Powerhouse" (1937) because it has become famous as the "assembly-line song" from Warner Bros. Cartoons. A Steenbeck reminds me of factory equipment (in a film factory), the WB cartoons are significant to media history, and the song itself is a significant formalist achievement.