domingo, 22 de marzo de 2009

Anonimizar tus descargas Directas

¿Porqué anonimizar enlaces externos con anony.es?

Con esta herramienta, los webmasters pueden evitar aparecer como referente en los ficheros log de los servidores de las páginas enlazadas. Los que llevan las páginas enlazadas ya no pueden ver de dónde vienen sus visitantes.
Usar el servicio para eliminar referentes es muy fácil: http://anony.es/?http://guanakoo.org/ enlaza con guanakoo.org de forma anónima sin que la página de origen aparezca en los ficheros log de la página enlazada.

domingo, 16 de septiembre de 2007

(Documentary) Russian typhoon class nuclear missile submarine.

I have had this documentary for quite a while and finally found the time to upload it.

Its a 44-minute documentary on the "Sewerstal" - a Russian nuclear submarine of the typhoon class. It was aired on German public Television (3SAT/ZDF) in 2001 and follows the crew of the vessel on a training mission in the Barents Sea.

Since the documentary is in German, I subtitled it in English (please excuse the English lapses, I was kinda tired when I subed it).

Unfortunately, due to my bad connection, I had to keep the file quite small so the quality suffered a little but I am sure the submarine enthusiasts will forgive me.

The Bloody History of Fascism

Fascism is known as an ideology that was born and flourished in the 20th century. Yet the roots of this ideology, which exalted war and violence, in fact go back to ancient times, to Sparta. It spread rapidly across the world in the wake of World War I, with fascist regimes coming to power in Germany and Italy in particular, but also in such countries as Spain and Japan. Because of fascism, the peoples of these countries suffered terribly and were subjected to frightful savagery.
In this film, you will explore the origins of fascist ideology which rest on old pagan cultures and its link to Darwin’s theory of evolution, which has formed the basis of various aggressive ideologies all over the world, from the 19th century up to the present day।

sábado, 15 de septiembre de 2007

What is Documentary?

The Short Answer

The simple definition of documentary is “nonfiction film.” In fact, many filmmakers and film festivals prefer to use that phrase to better describe the wide range of films commonly grouped under the documentary umbrella.

In box-office figures, "documentary" is generally considered a subgenre of nonfiction alongside concert films, large format (IMAX) films, compilations, and "reality" films (like Jackass). As I see it, drawing the lines between these films is arbitrary and somewhat meaningless. Certainly some films are more "serious" than others, but the lines are not so simple to draw.

The main distinction separating documentaries from other films is that they attempt to show us reality rather than made-up stories.

The Long Answer

There are no official rules for documentaries, however there are certain ideals you may associate with documentary films:
  • People, places, and events presented are real.
  • Events are filmed as they happen and are not staged for the camera.
  • Events take place in the order in which they happened in real life.
  • The record presented by the film is consistent with available historical evidence.
  • Filmmakers’ opinions and personal feelings are not expressed.
You can probably think of documentary films that break these “rules." Some of these expectations about documentary were long ago cast aside in the name of creative freedom and an understanding that film is an inherently imperfect substitute for reality. Some common techniques that are sometimes criticized for violating the “rules” of documentary include:
  • Re-enactments: Some re-enactments use actual people and places, others use actors. There continue to be debates over whether and how re-enactments should be labeled for the audience, as evidenced by discussions of Mighty Times: The Children’s March, winner of the 2005 Oscar for Best Documentary.
  • Animation and special effects: Often employed as a means of communicating the parts of a story that cannot be captured by camera, including a subject’s dreams, memories, and imaginings. In The Realms of the Unreal,and American Splendor both use such techniques.
  • Altered Timelines: Very few documentaries adhere to an exact chronology of scenes. Because the final film only shows a very small percentage of all the footage shot, many actions and quotes will necessarily be taken out of context. Shuffling the order of scenes and dialogue is often done for the sake of clarity.
  • Editing and Omissions: Sometimes portions of a story are omitted because a subject is too complicated to present comprehensively and clearly in two hours or less. Filmmakers also might be willing to sacrifice some credibility with scholars in order to produce a film that is understood and well received by a wider audience. Some quickly produced TV documentaries are criticized on these grounds. The relative importance of each part of a story is always a subjective decision made by the filmmaker.
  • Personal Opinion: Other films are clearly very personal and contain a significant dose of opinion and interpretation. Agnes Varda’s excellent film-essay on found things, The Gleaners and I, falls into this camp. Similarly, Michael Moore and other issue-advocacy filmmakers use a mix of fact and opinion in their films. Nonfiction films have a long history of being used as persuasive tools – both overtly (as in Fahrenheit 9/11) and as propaganda (Frank Capra’s Why We Fight series and Leni Reifenstahl’s Triumph of the Will).
While there are certainly many excellent films that obey the traditional “rules” of documentary, nonfiction films do much more than simply document the facts of our world. They give us glimpses of other people’s minds and imaginations; they educate, illuminate, persuade, and even (gasp!) entertain.
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