For everyone that favorited this movie, 16 people disliked it.
For every 1 person that favorited this movie, one disliked it.
0.5% of the viewers favorited this movie, 7.5% disliked it.
Hey, the first iPod commercial!6 years ago
http://www.youtube.com/watch?v=1S0aoQQxzwk8 years ago
I urge GodPepper and anyone else who favorites this ludicrous bit of trolling disguised as art to explain their position.7 years ago
I'm always iffy on 'experimental' anything, and 'Adebar' is the perfect example of why. The video is essentially distorted silhouettes dancing around with incomprehensibly irritating music playing. The music can only be compared to a toddler violently blowing into a recorder. I have no idea what value this short has, cinematic or otherwise. I can only imagine this is the kind of stuff they run on repeat to torture people. Absolutely brutal.8 years ago
that music is goddamn terrifying!2 years ago
For me: 3/10 on IMDb.
This is what night mares consists of.
Although there are always people who understand its context:
"Building on the discoveries of Breer, as well as on the rhythmic cutting of the French Impressionists and the Soviet Montage directors of the 1920s, Kubelka formulated a theory of “metrical” film: “Cinema is not movement. Cinema is a projection of stills—which means images which do not move—in a very quick rhythm.” Kubelka concluded that the basic units of cinema were not shots but the single frame and the interval between one frame and the next. The director could assemble frames into a fixed series and then build the film out of variations and manipulations of that series. For example, because the musical phrase to be used in Adebar lasted twenty-six frames, Kubelka decided that all his shots of dancing couples would be either thirteen, twenty-six, or fifty-two frames. These shots would combine to form "phrases.” Kubelka then varied the phrases according to a set of self-imposed rules; for example, a cut could link only positive and negative images. Adebar ends when all the combinations of shots have been exhausted. The process consumes a mere ninety seconds.
(Film History: An Introduction, Thompson & Bordwell, 3rd Edition)"