Children Have the Right to Film - Revision history

Fredd-E at 15:39, 6 July 2024

2024-07-06T15:39:24Z

Fredd-E at 09:40, 8 December 2021

2021-12-08T09:40:35Z

Fredd-E at 21:00, 2 December 2021

2021-12-02T21:00:05Z

ZosoCon at 11:23, 20 April 2020

2020-04-20T11:23:02Z

ZosoCon at 09:15, 23 May 2019

2019-05-23T09:15:34Z

ZosoCon at 17:34, 14 November 2018

2018-11-14T17:34:20Z

ZosoCon: /* Scans */

2018-11-07T11:59:50Z

‎Scans

ZosoCon: /* Scans */

2018-11-07T11:56:30Z

‎Scans

ZosoCon: changed date

2018-11-07T11:51:49Z

changed date

ZosoCon: minor changes

2018-11-07T11:49:28Z

minor changes

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 {{original}}
-Scotland's Boards of Canada (Michael Sandison and Marcus Eoin) make downtempo techno out of samples of smiling children and their tripping teachers, melodic lullabies, tones and rhythms as chilly and deep as a summer loch.  Much of the atmosphere created in their music springs from an elaborate, far-from-kitschy use of sampled motifs from both television programs and the '70s-era documentaries produced by the National Film Board of Canada (hence the name).  Not surprisingly, original video footage has accompanied some of their live sets alongside soundtracks from obscure children's programming.
+Scotland's [[Boards of Canada]] ([[Michael Sandison]] and [[Marcus Eoin]]) make downtempo techno out of samples of smiling children and their tripping teachers, melodic lullabies, tones and rhythms as chilly and deep as a summer loch. Much of the atmosphere created in their music springs from an elaborate, far-from-kitschy use of sampled motifs from both television programs and the '70s-era documentaries produced by the [[wikipedia:National Film Board of Canada|National Film Board of Canada]] (hence the name). Not surprisingly, original video footage has accompanied some of their live sets alongside soundtracks from obscure children's programming.
-{{question|How does your film collective, Music70, relate to Boards of Canada's music?}}
+{{question|How does your film collective, [[Music70]], relate to [[Boards of Canada]]'s music?}}
-{{boc|"Sandison: We started making short films as kids in the '80s, when we were also starting to play gigs and write our own music.  So we wrote music for the films.  We made abstract movies with our friends, so our music became pretty abstract too.  Then it got to the point where we were making film music before the films had been created, so we'd get this gang of friends to make a movie around some recordings we'd done.  Now our work is a hybrid of those things."}}
+{{boc|"Sandison: We started making short films as kids in the '80s, when we were also starting to play gigs and write our own music. So we wrote music for the films. We made abstract movies with our friends, so our music became pretty abstract too. Then it got to the point where we were making film music before the films had been created, so we'd get this gang of friends to make a movie around some recordings we'd done. Now our work is a hybrid of those things."}}
-{{question|You've named yourself after a Canadian film documentary organization.  What aspect of documentaries made such a noteworthy impression?}}
+{{question|You've named yourself after a [[wikipedia:National Film Board of Canada|Canadian film documentary organization]].  What aspect of documentaries made such a noteworthy impression?}}
-{{boc|"Sandison: Documentary soundtracks have always influenced us to some extent, not the ethereal, meaningless [sounds] that you often hear, but the bizarre music that composers can get away with in that context.  Public information films fascinate us.  We've also been inspired by composers of feature film music like Walter [Wendy] Carlos.  Certain soundtracks are very special, like the one for Picnic at Hanging Rock.  We're also influenced by experimental filmmakers, particularly animators like Jan Svankmajer."}}
+{{boc|"Sandison: Documentary soundtracks have always influenced us to some extent, not the ethereal, meaningless [sounds] that you often hear, but the bizarre music that composers can get away with in that context. Public information films fascinate us.  We've also been inspired by composers of feature film music like [[wikipedia:Wendy Carlos|Walter [Wendy] Carlos]]. Certain soundtracks are very special, like the one for [[wikipedia:Picnic at Hanging Rock|Picnic at Hanging Rock]].  We're also influenced by experimental filmmakers, particularly animators like [[wikipedia:Jan Svankmajer|Jan Svankmajer]]."}}
 {{question|Do you plan on releasing any of your visual work outside of broadcast during live performances?}}
-{{boc|"Marcus Eoin: Yeah, that'll happen because much of our film work isn't appropriate for live situations.  Now we're
+{{boc|"Marcus Eoin: Yeah, that'll happen because much of our film work isn't appropriate for live situations. Now we're
 working on films combining live action with music and animation - it's like anti-Disney!"}}
@@ Line 75: / Line 75: @@
 == Highlights ==
+* They're working on films combining live action with music and animation - it's like anti-Disney according to [[Marcus]].
 == External Links ==
+*
 == References ==
 <references />
 [[Category: Interviews]]
 [[Category: Music Has the Right to Children era]]

@@ Line 65: / Line 65: @@
 interview by Daniel Chamberlin, February 1999.
 </onlyinclude>
@@ Line 76: / Line 72: @@
 Image:1999 01 Urb Jan Feb Vol09 No63 pg26.jpg
 </gallery>
 == External Links ==
 [[Category: Interviews]]
 [[Category: Music Has the Right to Children era]]

@@ Line 2: / Line 2: @@
 <onlyinclude>
 {{interview
-|title=Children Have The Right To Film
+|title=Children Have the Right to Film
 |author=Daniel Chamberlin
 |date=1999/01
@@ Line 10: / Line 10: @@
 }}
 </onlyinclude>
 __TOC__
 == Original Text ==
 <onlyinclude>
 {{original}}
 Scotland's Boards of Canada (Michael Sandison and Marcus Eoin) make downtempo techno out of samples of smiling children and their tripping teachers, melodic lullabies, tones and rhythms as chilly and deep as a summer loch.  Much of the atmosphere created in their music springs from an elaborate, far-from-kitschy use of sampled motifs from both television programs and the '70s-era documentaries produced by the National Film Board of Canada (hence the name).  Not surprisingly, original video footage has accompanied some of their live sets alongside soundtracks from obscure children's programming.

@@ Line 14: / Line 14: @@
 == Original Text ==
 <onlyinclude>
-"Children Have The Right To Film" was an interview by Daniel Chamberin originally published Jan. 1999 in Urb magazine Volume 09 Number 63 (Jan/Feb 1999) p.26
+"Children Have The Right To Film" is an interview by Daniel Chamberin originally published Jan. 1999 in Urb magazine Volume 09, Number 63 (Jan/Feb 1999), p.26
 {{original}}
 </onlyinclude>
@@ Line 66: / Line 66: @@
 interview by Daniel Chamberlin, February 1999.
 </onlyinclude>
 == Scans ==

@@ Line 4: / Line 4: @@
 |title=Children Have The Right To Film
 |author=Daniel Chamberlin
 |publication=URB
-|date=1999/01 (Jan/Feb)
+|issue=Vol.09 No.63 (Jan/Feb 1999)
 |pages=p.26
 }}
@@ Line 12: / Line 12: @@
 __TOC__
-== Text ==
+== Original Text ==
 <onlyinclude>
-Children Have The Right To Film was an interview by Daniel Chamberin originally published Jan. 1999 in Urb magazine Volume 09 Number 63 (January/February 1999) p.26.
+"Children Have The Right To Film" was an interview by Daniel Chamberin originally published Jan. 1999 in Urb magazine Volume 09 Number 63 (Jan/Feb 1999) p.26
 {{original}}
 </onlyinclude>
@@ Line 68: / Line 68: @@
 == Scans ==
 <gallery>
 Image:1999 01 Urb Jan Feb Vol09 No63 Cover.jpg