{"id":7042,"date":"2018-10-08T09:10:59","date_gmt":"2018-10-08T07:10:59","guid":{"rendered":"https:\/\/www.berlin-producers.de\/project\/der-illegale-film\/"},"modified":"2019-03-19T10:33:36","modified_gmt":"2019-03-19T09:33:36","slug":"der-illegale-film","status":"publish","type":"project","link":"https:\/\/www.berlin-producers.de\/en\/project\/der-illegale-film\/","title":{"rendered":"Der illegale Film \/ The Illegal Film"},"content":{"rendered":"

[et_pb_section bb_built=”1″ fullwidth=”on” specialty=”off” parallax_method=”off” module_class=”farbesi” background_color=”#de0e20″ _builder_version=”3.7.1″ next_background_color=”#ffffff”][et_pb_fullwidth_header title=”Der illegale Film \/ The Illegal Film” subhead=”A film by Martin Baer and Claus Wischmann, 80 min., 2018″ background_layout=”dark” text_orientation=”left” content_max_width=”100%” background_color=”rgba(255, 255, 255, 0)” _builder_version=”3.16.1″ button_one_text_size__hover_enabled=”off” button_one_text_size__hover=”null” button_two_text_size__hover_enabled=”off” button_two_text_size__hover=”null” button_one_text_color__hover_enabled=”off” button_one_text_color__hover=”null” button_two_text_color__hover_enabled=”off” button_two_text_color__hover=”null” button_one_border_width__hover_enabled=”off” button_one_border_width__hover=”null” button_two_border_width__hover_enabled=”off” button_two_border_width__hover=”null” button_one_border_color__hover_enabled=”off” button_one_border_color__hover=”null” button_two_border_color__hover_enabled=”off” button_two_border_color__hover=”null” button_one_border_radius__hover_enabled=”off” button_one_border_radius__hover=”null” button_two_border_radius__hover_enabled=”off” button_two_border_radius__hover=”null” button_one_letter_spacing__hover_enabled=”off” button_one_letter_spacing__hover=”null” button_two_letter_spacing__hover_enabled=”off” button_two_letter_spacing__hover=”null” button_one_bg_color__hover_enabled=”off” button_one_bg_color__hover=”null” button_two_bg_color__hover_enabled=”off” button_two_bg_color__hover=”null” \/][\/et_pb_section][et_pb_section bb_built=”1″ prev_background_color=”#de0e20″][et_pb_row][et_pb_column type=”4_4″][et_pb_text admin_label=”Video” background_layout=”light” text_orientation=”left” background_position=”top_left” background_repeat=”repeat” background_size=”initial” _builder_version=”3.17.6″]<\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=”4_4″][et_pb_text background_layout=”light” text_orientation=”left” background_position=”top_left” background_repeat=”repeat” background_size=”initial” _builder_version=”3.16.1″]<\/p>\n

\nPeople are filming and taking pictures of themselves like never before. Since the invention of the photograph trillions of photos have been taken. But the easier it gets to \u201cexpose\u201d everything and everyone, the more our self-evident freedom to portray the world is restricted by rules. Owners and copyright-owners of objects, buildings, trademarks and even landscapes claim money for the depiction of their property. The vast commercial potential within these images is becoming increasingly important. Algorithms, by means of face recognition technology and mobile profiles, yield invaluable data for the consumer- and advertising industry. Soon, the question of who owns a single image or who can copy a film for how much will be peripheral. The real moneymaker is the wealth of pictures of us all. If everything really does become a product \u2013 art, ideas, colours, the pictures of our surroundings and even our \u2018selfies\u2019 \u2013 then who do the pictures we take of ourselves, and our world belong to?<\/p>\n

to the website THE ILLEGAL FILM<\/a><\/p>\n

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\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div>   https:\/\/vimeo.com\/278668598  
\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div> People are filming and taking pictures of themselves like never before. Since the invention of the photograph trillions of photos have been taken. But the easier it gets to \u201cexpose\u201d everything and everyone, the more our self-evident freedom to portray the world is restricted by rules. Owners and copyright-owners of […]<\/p>\n","protected":false},"author":1,"featured_media":6674,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

[et_pb_section bb_built=\"1\" fullwidth=\"on\" specialty=\"off\" parallax_method=\"off\" module_class=\"farbesi\" background_color=\"#de0e20\" _builder_version=\"3.7.1\" next_background_color=\"#ffffff\"][et_pb_fullwidth_header title=\"Cameron Carpenter Superstar\" subhead=\"Ein Film von Caroline Beiersdorf und Claus Wischmann, 26 min. \" background_layout=\"dark\" text_orientation=\"left\" content_max_width=\"100%\" background_color=\"rgba(255, 255, 255, 0)\" _builder_version=\"3.7.1\" \/][\/et_pb_section][et_pb_section bb_built=\"1\" prev_background_color=\"#de0e20\"][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Video\" background_layout=\"light\" text_orientation=\"left\" background_position=\"top_left\" background_repeat=\"repeat\" background_size=\"initial\" _builder_version=\"3.12.1\"]<\/p>

https:\/\/vimeo.com\/278668516<\/p>

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text background_layout=\"light\" text_orientation=\"left\" background_position=\"top_left\" background_repeat=\"repeat\" background_size=\"initial\"]<\/p>

Die wei\u00dfen Schuhe rasen mit einer Geschwindigkeit \u00fcber die Pedale, die dem Zuschauer den Mund offen stehen l\u00e4sst. Das eigenwillige Schuhwerk ist Teil des Ph\u00e4nomens Cameron Carpenter. Im mit Pailletten besetztem Glamour-Outfit spielt Carpenter auf einer zweihundert Jahre alten Kirchenorgel Cindy Laupers \"True Colours\". Beine, Arme, H\u00e4nde und F\u00fc\u00dfe sind in konstanter, koordinierter Bewegung und rasen der Ziellinie eines vollendeten Auftritts entgegen, und dem donnernden Applaus der Zuh\u00f6rer.<\/p>

Mit seinem Orgelspiel ist der junge New Yorker dabei, Musikgeschichte zu schreiben. Die Orgel ist reif f\u00fcr einen neuartigen, bedeutenden Ausdruck von Ideen meint Cameron Carpenter, w\u00e4hrend er sich mit einigen Liegest\u00fctzen f\u00fcr das Konzert warm macht. Seine Vision der Orgel umfasst nicht nur das klassische Repertoire, sondern auch Bearbeitungen von Klavier-, Orchester- und Popmusik. Ganz selbstverst\u00e4ndlich steht bei Carpenters imposanten Auftritten Bachs \"Wohltemperiertes Klavier\" neben Bob Dylans \"Mr. Tambourine Man\" und Filmmusik von John Williams. Cameron hat \u00fcber 200 musikalische Werke f\u00fcr die Orgel transkribiert, komponiert eigene St\u00fccke und mischt diese selbstverst\u00e4ndlich in sein buntes Programm.<\/p>

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