MOOZ – on moving images and audiovisual arts
Sunrise Dacapo (12 cm/standing)
Sunrise Dacapo (12cm/stehend)
Nina Poppe
2008, 5:20 min., 16 mm, 4:3, color
2008, 5:20 min., 16 mm, 4:3, color
Direction, screenplay, camera, and editing: Nina Poppe
Camera assistant: Nina Mayrhofer
Sound: Elias Stabentheiner, Kai Loewenhaupt
Advisor: Prof. Dietrich Leder
Produktion: Kunsthochschule für Medien Köln
In long static shots, without commentary or music, Sunrise Dacapo shows how nature is created in assembly line fashion. The watchful gaze of geraniums growing in mass production and the balance of noise and silence shape the atmosphere of the film.
This short film by Nina Poppe was created at the KHM in Dietrich Leder’s seminar Documentary Miniatures. The film attracted attention at its premiere at the Short Film Festival in Oberhausen. Subsequently it was presented to an international audience as part of the Next Generation program of German films at the Cannes Film Festival. After its successful festival career the film was picked up for distribution in the program of PROGRESS Film-Verleih, and shown in cinemas Germany-wide as the short film opener of the long documentary film The Last Giants by Daniele Grieco.
Text — Daniel Sondermann
Nina Poppe was born in 1979 in Münster. She lives and works in Cologne as a freelance photographer, curator, director, and cinematographer.
Nina Poppe studied photography at the University of the Arts, Utrecht (Netherlands), 2003. Later she studied at the Academy of Media Arts, Cologne. She earned her degree in February 2011 with the photobook Ama on Japanese women divers.
www.ninapoppe.com
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© NINA POPPE
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ABOUT MOOZ
MOOZ—on moving images and audiovisual arts—is a virtual place for artistic projects of the Academy of Media Arts, known also far beyond the KHM. The platform for close-up views of projects and productions of different time periods, works with the principle of reflection: MOOZ mirrors the complex sequences and formats, and reflects back into the virtual spaces what has not yet been perceived or what has just been produced. MOOZ also changes perspective: It's not just about looking at and in the predominantly short, audiovisual forms and discoveries about vlog, found footage, essay film, documentary and performative formats, abstract and experimental, installative arrangements, but with which lens, which focus, which zoom the moving image works look back on the equally different and polyphonic world of the users.
The reflection principle of MOOZ can also be understood programmatically: because each project is reflected by a different voice who thinks with the artistic work, directs a specific focus on it and stimulates the viewer to make their own projections.
