Abstract (eng)
The focus of this thesis is primarily methodological and aims to answer the following questions: how successful is the process of documentary video and film interpretation in practical research and which opportunities are available to expand this process? In addition, video interpretations of television programmes and music videos serve as practical examples of the methods both currently used and proposed in this thesis. As a result of the comparison of these two genres of video material, a considerable difference in quality emerges between the techniques of compositing (used in television programmes) and montage (in music videos). The defining design element of television programmes is the camera angle, which provides the people in front of the camera with a certain scope for creativity. In contrast, in the case of music videos the entire scope of efforts and performance by all those involved, both in front of and behind the camera, is controlled as a result of the montage technique. As the analysis shows, additional instruments are required for the effective reconstruction of montage. A central means to approach this analysis is provided by video transcripts. With them, patterns of montage in a video or film can, for example, be ascertained and then compared with other, related material. However, patterns of montage can also be analysed directly in terms of the colour contrasts identified during the interpretation process; Johannes Itten’s theory of colour contrast is applied to this end in the course of this thesis in combination with the documentary method. As will be demonstrated, the interpretation of colour contrasts constitutes an important connection between camera angles and montage. Colour contrasts can be documented both in one photogram and between photograms; consequently, they offer the possibility of mutual validation of the iconic meaning. Further methods of film and video interpretation are developed in this thesis: the application of Imdahl’s method of composition variation to the variation of camera angles, montage and gestures, as well as the comparative analysis of images, are both proposed as further instruments to be adopted in the interpretation of films and videos. Using the basis of the formal composition of an image, similar depictions can be found on the internet with the help of specialised iconic search algorithms. The resulting minimal and maximal contrasts can, in turn, be applied as further search criteria for the picture and video interpretation.