Monday, January 16, 2012

[232] Another Theoretical Review - The Art of Pho

Este fin de semana de San Sebastian lo pase en familia.  No me arrepiento.  Uno de los hobbies que he tomado ultimamente es ense/narle a mi hijo curiosidades de la internet y como puede ser una opotunidad de aprendizaje sumamente divertida.  El articulo de hoy fue sugerido inicialmente con una investigacion sobre motion comics y novelas graficas.

Comencemos con esa discusion primero...Motion Comics vs Illustrated Movies
A sibling format to motion comics called illustrated films was developed by transmedia studio HALO 8 Entertainment with their Godkiller, which was produced at the same time as (but separately from) the Watchmen motion comic. As opposed to repurposing an existing comic book, Halo-8 created new sequential art that was designed from its inception to be transmedia art for both a comic book and an illustrated film. Godkiller creator Matt Pizzolo told Bloody Disgusting "Godkiller was just a slower production than Watchmen because we had to create 200 pages of art and story from the ground up first, rather than starting with one of the greatest comic books ever made as source material. Plus we had a dozen voice performers instead of just one."[6]
Although aesthetically similar to motion comics, Pizzolo identifies illustrated film influences as including Liquid Television, the MTV cartoon adaptation of The Maxx, the Berserk anime series, Chris Marker's La jetée, the motion comic Broken Saints, and the experimental cinema of Ralph Bakshi.[7][8]
According to Comics Alliance, Pizzolo stated "the difference between an illustrated film and a motion comic is kind of the difference between a movie that was shot in 3D versus a movie that was shot in 2D but got a 3D post-conversion. We're not repurposing an existing comic book here, we're building something unique from scratch."[9]

Enter the Submarine Channel
Submarine Channel presenta videos, clips y comics interactivos.  Sumamente curioso por momentos, incomprensible en otros, pero definitivamente una experiencia visual y auditiva estimulante.  Uno de sus proyectos, un motion comic interactivo basado en el libro The Art of Pho, descrito debajo.

Submarine Channel es parte de un nuevo mercado de produccion de videos.  Videos interactivos y de alta calidad comparado con servicios como VEVO, que restringe el acceso a los videos para vender anuncios a las disqueras.  Este interesante articulo debajo lleva la historia de los primeros videos a las tecnologias presentes:
Across the industry, the business of music videos has seen recent dramatic shifts. Three out of four major music companies now channel their videos through Vevo, an online video player and distributor launched in late 2009. After years of licensing their videos to sites all over the Web—and seeing measly financial returns—the labels now rely on Vevo to distribute their videos online and sell ads against them. By focusing on slick presentation and sponsored video premieres, the company has pushed ad rates higher. Vevo, whose traffic includes the videos it funnels into sites such as YouTube and Facebook, is the biggest music provider on the Web, attracting 54 million unique viewers last March, up from 37.5 million in the same month last year, according to ComScore Video Metrix.
"The old model cheapened the value of music videos," says Vevo President and Chief Executive Rio Caraeff. "We want to restore the premium lustre."
Columbia Records
Beyoncé's 'Single Ladies' video (2008): 116 million YouTube views. A homemade homage by a chubby guy in a leotard: 20 million views.
Money is trickling back to the labels: A label whose videos rack up 10 million streams on Vevo could collect around $70,000.
The new economics of music videos have sent the medium in two different directions. On the high end, million-dollar clips are almost unheard of now, but "event" videos can occasionally carry price tags of up to $500,000. The cost of the recent Dr. Dre and Eminem video for "I Need a Doctor" included a Ferrari worth about $75,000. "We crashed it. You don't crash cars anymore," says Kathy Angstadt, head of visual content for Interscope Records.

La mision de Submarine Channel de crear nuevo contenido se resume aqui:
The goal of SubmarineChannel is to create new, interactive, cross media formats that use the qualities of the Internet and that can also migrate to other media, like television, mobile devices and film.

SubmarineChannel is both a distribution and a production platform for filmmakers and interactive artists who are exploring the potential of the web.

SubmarineChannel gathers the most stylish, offbeat, original and arresting artworks for the net into one place. You'll find linear and interactive works, because the bottom line is using new media to create new experience.
What's unique about SubmarineChannel is the range and scope of its activities. From design to Internet, from short digital films to animations and interactive graphic novels, SubmarineChannel provides a showcase for work aimed at a young but critical audience, one with a global perspective on digital culture.

Although based in mainland Europe, SubmarineChannel is global in scope    bringing inspiring and original work from Asia, North America and Europe together under one roof. It uses a range of possibilities for assembling this content, from exclusive licensing to acting as an agent and creating distribution deals with other web sites and media.

SubmarineChannel syndicates work not just to other web portals, but to TV companies, mobile services operators and other media, both traditional and novel. The12-strong company has full, cross-media production capabilities, from print and video to film and TV, and represents a growing stable of creative talent. These resources can also be used to take existing work and re-format and re-edit it, for example making made-for-Net films TV broadcast-ready.

Unlike most existing channels, SubmarineChannel also offers a mix of magazine and content delivery. By profiling artists and reporting on digital culture, SubmarineChannel puts works into perspective rather than just streaming as many as possible.

correccion - 17 ene 2011, direccion revisada aqui:

Recientemente Submarine Channel esta serializando el libro Art of Pho, una novela grafica de un inmigrante vietnamita, como un motion comic.  A mi hijo le encanto la combinacion de colores y audio sencillo.  Les incluyo el comunicado de prensa de Submarine Channel aqui:

En cuanto a Art of Pho, es creado por Julian Hanshaw.  Su pagina web aqui:

In Review: The Art of Pho

By Julian Hanshaw
Publisher: Jonathan Cape
ISBN: 9780224089845
Out: 1st July 2010

The Book: The noodle soup called pho is the national dish of Vietnam. When Little Blue - having been dropped by a mysterious man with a red car and being told to count to 500 - finds himself in Ho Chi Minh City, Vietnam's baffling, daunting capital,his salvation is his own mobile pho stand. Little Blue's relationship with the city and its food brings an understanding to what it means to never want to return home and the fact that everyone goes away in the end.
Me he podido identificar con algunas de las situaciones presentadas en la historia (por lo menos la version interactiva, no creo conseguir la version original localmente en buen tiempo).
Aunque me gustaria conseguir el libro lo critican desde el punto de vista de la historia, no del arte, como rese/nan aqui:
It takes a certain kind of graphic novel to cross over into the mainstream provided by publishers like Jonathan Cape. It can be nostalgiac and mordant, like, say, Seth’s recent George Sprott. It can emerge from the pen of one of the legends (like, say, Daniel Clowes whose recent Wilson we were so enamoured with). It can be political (like Joe Sacco’s Footnotes in Gaza), travelogue-y (like Guy Delisle’s ongoing work) or it can be memoir-y (like Alison Bechdel’s Funhome). It shouldn’t really be super hero-y (although Chris Ware can make that happen). And, occasionally, it may sacrifice narrative on the altar of art (see David Hughes’ Walking the Dog). As charming as Julian Hanshaw’s The Art of Pho is, it still tends to fall into that latter camp.
Little Blue is a small, childlike creature with an open-ended funnel for a nose who is left besides the road somewhere Vietnam-y by a man in a red car. Asked to stand and count to 500, a small community springs up around him that eventually gives him succour, with a roadside stand selling Pho. What is Pho when it’s at home, you may cry if you haven’t been to Vietnam yourself. Well, Pho is a kind of broth boiled up from beef bones and consisting of noodles and spring onions and chilli and coriander in hundreds of different ways (we learn that a bowl of Pho will taste particular and individual to whoever is selling it). Little Blue takes up residence with a group of travellers (all of whom are themselves selling Pho somewhere in the city) and gradually builds up a small coterie of regular customers – one of whom eventually invites Little Blue to cook for her at her home many miles away. This journey appears to presage some sort of crisis in which Little Blue learns something of his origins…

El motion comic aqui:

The Art of Pho - motion comic trailer from Submarine Channel on Vimeo.
Cerrando el tema, habia hablado de Pho antes.  Pho son sopas vietnamitas.  Son bien comunes en las calles de Ho Chi Minh city.  Es su plato nacional y los habia mencionado previamente en mis articulos de Biloxi:


remco said...

Thanks for the post and tweet about Art of Pho. But could you please correct the link to our mission page to:

Your link is the old page.

Beato said...

Thanks for the corrected link, included in the post. Great to see you have covered the whole web with your concept, even reaching the outskirts here in Puerto Rico.
I hope to create awareness on the new media, comic and graphic publications with the intention they become more popular.
The concepts such as submarine channel are what the internet should be about: fresh and dynamic.

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