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Hyperkino

January 01, 1970

Hyperkino is a standardized system of referencing and annotating films on digital carriers – attaching related content and analysis to individual frames. The name of the method, Hyperkino, is based on the intertwining of the concepts of textual criticism and hypertext.

From theory to practice edit

Hyperkino was developed by Natascha Drubek and Nikolai Izvolov from 2005 to 2008:[1]

We have connected the traditional principles of annotation with digital technologies and their markup languages, applying hypermedia principles of commentary to the linear medium of film. Hyperkino annotations of a film are comparable to the footnotes and the commentary in historical-critical editions of texts, with the only difference being that they are comprised of various media forms (text, sound, pictures). […] The tradition of scholarly editions provides sophisticated ways of preserving texts over centuries, keeping them alive in constantly evolving receptions and commentaries. The idea of indexing a text, turning it into a network of interrelations and linking it with other texts, goes back to the tradition of editing scholarship.[2]

Digital humanities scholar Christian Gosvig Olesen stresses the importance of the analytical and theoretical phase preceding practical steps towards developing and designing the Hyperkino method: “In 2006 Drubek and Izvolov penned an article together that formulated this vision, Critical Editions of Films on Digital Formats, which was published in the eighth edition of the international film studies review Cinema & Cie.[3] in the fall of 2006.”

He characterizes Hyperkino as a philological reaction to audio commentaries which were the early and most popular forms of extras on DVDs:

The article departed from a critique of current presentations in academic and contextualizing analyses of films on DVD to conceptualize a new way of DVD editorship relying on annotations and a more extensive and effective use of the hyperlinked structure of the DVD format. One of the points of critique was that existing DVD editions much too often overburdened the works in question […] Drubek and Izvolov instead advocated for a use of annotations which could appear in conjunction with the film but also exist independently of it. As the basis of this proposition they proposed a distinction between the film in itself as textus, which should be able to stand alone and be viewed independently of an analytical interpretive layer, and on the other hand an apparatus including all that which is not part of the filmic text itself: notes on the film’s historical context, script, stills or for example correspondences or business documents related to the film’s production.[4]

Hyperkino commentaries were made possible by the DVD format, introduced in 1996. In the ten years of its existence this format had produced several noteworthy audio commentaries by either filmmakers or scholars.[5] However, it hardly had contributed to creating a standard of critical editions of films on digital carriers. In the academic environment of film studies the digital representation of film seemed to usher in a welcome convergence of film and writing on film. Digital technologies offered an option to explore the old medium of film from a new angle. The idea of a scholarly digital edition of a film surfaced several years after the first “Deluxe” editions of films with “deleted scenes” and other DVD extras were published. Scholarly interest in the DVD was driven by the requirement to have a stable “textus” which could be the basis of citations. In addition, film analysis asked for tools to annotate shots or even single frames in a film without destroying the cinematic text itself by intrusive modifications such as inserting talking heads or acousmatic voices of commentators.

From this perspective Hyperkino was an exercise in understatement compared to other DVD extras. Its principle was a hidden annotation linked to the film frame marked by a minimal sign, usually a number.[4] Clicking the number leads the viewer onto an off-screen commentary text section. “These sections we call 'footnotes' for the film. The main difference to current DVD commentaries is the presentation of scholarly research: It happens not in an audio but in a written format which makes the commentary quotable. Every HYPERKINO DVD edition is tantamount to an introductory article about the film published. The film and texts about the film merge on the digital carrier.”[6]

Hyperkino DVDs edit

As a commercially available DVD format Hyperkino materialized itself three years after the programmatic article by Drubek and Izvolov. In 2008 Drubek produced a Hyperkino DVD in Berlin and Prague, publishing Nikolai Izvolov's reconstruction of Lev Kuleshov’s until then unpublished first film: Proekt inzhenera Praita.

Gosvig Olesen writes: “First in the fold of the German DVD publisher Absolutmedien and later as the series KinoAcademia published by RUSCICO. The film to launch the format was Lev Kuleshov’s debut feature Proekt inzhenera Prayta (Engineer Prite’s Project), USSR, 1918). Not only was it the first time the film was made available digitally, it had also, as pointed out by film historian Kristin Thompson, for a long time only existed in a version without intertitles, which left the impression that the film was incomplete.”[4]

Hyperkino editions emphasize the importance of incorporating different versions of the film. Two versions can be found on the German DVD of Engineer Prite's Project allowing to compare the fragmented film as it lies in Gosfilmofond without intertitles with Izvolov's 2001 reconstruction of the film which incorporated textual material from a surviving original libretto.[7] The DVD contains the TV documentary The Kuleshov Effect (USSR, 1969) by Semyon Raitburt (ЭФФЕКТ КУЛЕШОВА, 1969, Семён Райтбурт). The Hyperkino “footnotes” quote from interviews with Kuleshov and Viktor Shklovsky.

In the following years around a dozen of Hyperkino DVDs were released by the Russian publisher RUSCICO under the series title “Kino Academia” containing the annotations of international film scholars specializing in Russian and Soviet film: Aleksandr Deriabin, Natascha Drubek, Bernard Eisenschitz, Jeremy Hicks, Nikolai Izvolov, Ekaterina Khokhlova, Milena Musina, Sergei Kapterev, Natalia Riabchikova, and Yuri Tsivian. Not all of the initially announced DVDs have been published yet, due to the high production costs.

The Childhood of Maxim Gorky, 1938

Donskoy, Mark

By the Bluest of Seas, 1936

Barnet, Boris

Happiness, 1934

Medvedkin, Aleksander

The Great Consoler, 1933

Kuleshov, Lev

Outskirts, 1933

Barnet, Boris

The Heir to Genghis Khan (Storm Over Asia), 1928

Pudovkin, Vsevolod

October, 1927

Eisenstein, Sergei

The Girl with the Hatbox, 1927

Barnet, Boris

Strike, 1924

Eisenstein, Sergei

Engineer Prite's Project, 1913

Kuleshov, Lev

In line with the aims described in Drubek's and Izvolov's 2005 article, every Hyperkino DVD edition consists of a textus and an apparatus. The apparatus in Hyperkino editions consists of alternative versions and “footnotes” connected to the film. Footnote numbers on all Hyperkino DVDs appear during playback in the upper right corner of the frame. In the RUSCICO editions the textus is on disc 1 (language versions) and the apparatus on disc 2 (film without language versions but with Hyperkino footnotes).

Awards edit

In 2010 at the Bologna festival Il Cinema Ritrovato three Hyperkino titles were awarded with the “DVD Awards 2010, VII edition. Best Special Features (Bonus) for their innovative handling of printed and illustrated commentaries”. The three DVDs were:

  • The Great Consoler (Russia/1933) by Lev Kuleshov – Ruscico (Russia) - hyperkino annotations by Ekaterina Khokhlova
  • Engineer Prite's Project (Russia/1918) by Lev Kuleshov – Ruscico (Russia) - hyperkino annotations by N. Drubek-Meyer / Nikolai Izvolov
  • October (Russia/1927) by Sergey Eisenstein, Grigori Aleksandrov – Ruscico (Russia) - hyperkino annotations by Yuri Tsivian

In the same year Hyperkino received another award from the Russian Guild of Film Critics and Scholars, the “Elephant 2010” (Kinovedenie i kinokritika v elektronnych SMI, novye technologii).

Reviews and reactions edit

“The idea of Hyperkino is a sensational breakthrough: imagine what a potential is looming here!”[5]

In his article "The Mosaic Approach. In defense of a nonlinear film criticism" Jonathan Rosenbaum describes Hyperkino as "a hybrid form—existing somewhere between reading and watching, like various computer-related activities—is part of what seems forward-looking about them […] What all these forms of criticism suggest is not merely a less linear way of approaching film experience but also a more interactive methodology. The fact that movies are being seen more and more often away from public theaters shouldn't necessarily mean that the way we all experience them and share our experiences is any less social. Perhaps it's more pertinent to note that the very forms of our social interactions in relation to films are changing as well."[8]

Julian Graffy discusses Hyperkino from the perspective of the “commentarist”: “Engaging with the Hyperkino commentaries leads to thoughts about the fundamental differences between a spoken commentary, the only version most viewers will so far have encountered, and the (predominantly written) Hyperkino approach.” Graffy mentions the time factor which challenged the performance of audio commentators: “bottlenecks, where too much is happening at once for you to cover all you want to say; and longueurs, where you wonder how to fill the space, or worry about extended periods of silence. […] None of these problems exists, of course, for the Hyperkino commentarist – he or she is not time-bound, and the notes can be as short or as long as required. They can also be more scholarly – the notes on Strike especially are full of references to sources both printed and archival – indicating to the scholar/student viewer where to do further research. And, above all, they have the advantage of hybridity, which is why the Hyperkino notes are more than just a book on screen.”[9]

In 2011 film critic and media scholar Joachim Schätz called the Hyperkino publication of the Kuleshov debut a "mediated revolution" (“vermittelte Revolution”) and Hyperkino "one of the most exciting forms of reflection on film one can experience today."

Bibliography edit

References edit

  1. ^ On the relation of textus and apparatus cf. Michal Kosák, K podobě komentáře: nad filmovou sérií Hyperkino. Slovo a smysl, 10, 2013, č. 20, p. 314-317. http://slovoasmysl.ff.cuni.cz/node/499
  2. ^ Systems, eZ. "What is hyperkino / hyperkino / convergence - Website Interface". hyperkino.net. Retrieved 2016-12-03.
  3. ^ “Critical Editions of Films on Digital Formats”, Cinema & Cie (autumn 2006). A second English edition appeared in Studies in Russian and Soviet Cinema, Volume 2, 2008, Issue 2, 205-216. The method was first described in the 2005 Russian original of the article: Natascha Drubek-Meyer/ Nikolaj Izvolov: “Kommentirovannoe izdanie fil’mov na DVD: neobchodimost’ naučnych standartov”. In: Kinovedcheskie zapiski 72, 2005, p. 372-383.
  4. ^ a b c Olesen, Christian Gosvig (2013-08-10). "What Is Hyperkino? Ruscico's Academia DVD series and the historical-critical film edition". Film History in the Making. Retrieved 2016-12-03.
  5. ^ a b Bosma, Peter. "Hyperkino. Een dvd met voetnoten (2010)".
  6. ^ "European Commission : CORDIS : Projects & Results Service : Final Activity Report Summary - HYFIP (Hypertextual Film Presentation. Designing Digital Editions for the European Cinematographic Heritage)". cordis.europa.eu. Retrieved 2016-12-03.
  7. ^ "ENGINEER PRITE'S PROJECT". cinando.com.
  8. ^ "The Mosaic Approach by Jonathan Rosenbaum - Moving Image Source". www.movingimagesource.us. Retrieved 2016-12-03.
  9. ^ Graffy, Julian (2010). "[Hyperkino] DVD Reviews". Studies in Russian and Soviet Cinema. 4 (3): 345–354. doi:10.1386/srsc.4.3.345_7. S2CID 220276212.

External links edit

January 01, 1970
hyperkino, standardized, system, referencing, annotating, films, digital, carriers, attaching, related, content, analysis, individual, frames, name, method, based, intertwining, concepts, textual, criticism, hypertext, contents, from, theory, practice, dvds, a. Hyperkino is a standardized system of referencing and annotating films on digital carriers attaching related content and analysis to individual frames The name of the method Hyperkino is based on the intertwining of the concepts of textual criticism and hypertext Contents 1 From theory to practice 2 Hyperkino DVDs 3 Awards 4 Reviews and reactions 5 Bibliography 6 References 7 External linksFrom theory to practice editHyperkino was developed by Natascha Drubek and Nikolai Izvolov from 2005 to 2008 1 We have connected the traditional principles of annotation with digital technologies and their markup languages applying hypermedia principles of commentary to the linear medium of film Hyperkino annotations of a film are comparable to the footnotes and the commentary in historical critical editions of texts with the only difference being that they are comprised of various media forms text sound pictures The tradition of scholarly editions provides sophisticated ways of preserving texts over centuries keeping them alive in constantly evolving receptions and commentaries The idea of indexing a text turning it into a network of interrelations and linking it with other texts goes back to the tradition of editing scholarship 2 Digital humanities scholar Christian Gosvig Olesen stresses the importance of the analytical and theoretical phase preceding practical steps towards developing and designing the Hyperkino method In 2006 Drubek and Izvolov penned an article together that formulated this vision Critical Editions of Films on Digital Formats which was published in the eighth edition of the international film studies review Cinema amp Cie 3 in the fall of 2006 He characterizes Hyperkino as a philological reaction to audio commentaries which were the early and most popular forms of extras on DVDs The article departed from a critique of current presentations in academic and contextualizing analyses of films on DVD to conceptualize a new way of DVD editorship relying on annotations and a more extensive and effective use of the hyperlinked structure of the DVD format One of the points of critique was that existing DVD editions much too often overburdened the works in question Drubek and Izvolov instead advocated for a use of annotations which could appear in conjunction with the film but also exist independently of it As the basis of this proposition they proposed a distinction between the film in itself as textus which should be able to stand alone and be viewed independently of an analytical interpretive layer and on the other hand an apparatus including all that which is not part of the filmic text itself notes on the film s historical context script stills or for example correspondences or business documents related to the film s production 4 Hyperkino commentaries were made possible by the DVD format introduced in 1996 In the ten years of its existence this format had produced several noteworthy audio commentaries by either filmmakers or scholars 5 However it hardly had contributed to creating a standard of critical editions of films on digital carriers In the academic environment of film studies the digital representation of film seemed to usher in a welcome convergence of film and writing on film Digital technologies offered an option to explore the old medium of film from a new angle The idea of a scholarly digital edition of a film surfaced several years after the first Deluxe editions of films with deleted scenes and other DVD extras were published Scholarly interest in the DVD was driven by the requirement to have a stable textus which could be the basis of citations In addition film analysis asked for tools to annotate shots or even single frames in a film without destroying the cinematic text itself by intrusive modifications such as inserting talking heads or acousmatic voices of commentators From this perspective Hyperkino was an exercise in understatement compared to other DVD extras Its principle was a hidden annotation linked to the film frame marked by a minimal sign usually a number 4 Clicking the number leads the viewer onto an off screen commentary text section These sections we call footnotes for the film The main difference to current DVD commentaries is the presentation of scholarly research It happens not in an audio but in a written format which makes the commentary quotable Every HYPERKINO DVD edition is tantamount to an introductory article about the film published The film and texts about the film merge on the digital carrier 6 Hyperkino DVDs editAs a commercially available DVD format Hyperkino materialized itself three years after the programmatic article by Drubek and Izvolov In 2008 Drubek produced a Hyperkino DVD in Berlin and Prague publishing Nikolai Izvolov s reconstruction of Lev Kuleshov s until then unpublished first film Proekt inzhenera Praita Gosvig Olesen writes First in the fold of the German DVD publisher Absolutmedien and later as the series KinoAcademia published by RUSCICO The film to launch the format was Lev Kuleshov s debut feature Proekt inzhenera Prayta Engineer Prite s Project USSR 1918 Not only was it the first time the film was made available digitally it had also as pointed out by film historian Kristin Thompson for a long time only existed in a version without intertitles which left the impression that the film was incomplete 4 Hyperkino editions emphasize the importance of incorporating different versions of the film Two versions can be found on the German DVD of Engineer Prite s Project allowing to compare the fragmented film as it lies in Gosfilmofond without intertitles with Izvolov s 2001 reconstruction of the film which incorporated textual material from a surviving original libretto 7 The DVD contains the TV documentary The Kuleshov Effect USSR 1969 by Semyon Raitburt EFFEKT KULEShOVA 1969 Semyon Rajtburt The Hyperkino footnotes quote from interviews with Kuleshov and Viktor Shklovsky In the following years around a dozen of Hyperkino DVDs were released by the Russian publisher RUSCICO under the series title Kino Academia containing the annotations of international film scholars specializing in Russian and Soviet film Aleksandr Deriabin Natascha Drubek Bernard Eisenschitz Jeremy Hicks Nikolai Izvolov Ekaterina Khokhlova Milena Musina Sergei Kapterev Natalia Riabchikova and Yuri Tsivian Not all of the initially announced DVDs have been published yet due to the high production costs The Childhood of Maxim Gorky 1938 Donskoy Mark By the Bluest of Seas 1936 Barnet Boris Happiness 1934 Medvedkin Aleksander The Great Consoler 1933 Kuleshov Lev Outskirts 1933 Barnet Boris The Heir to Genghis Khan Storm Over Asia 1928 Pudovkin Vsevolod October 1927 Eisenstein Sergei The Girl with the Hatbox 1927 Barnet Boris Strike 1924 Eisenstein Sergei Engineer Prite s Project 1913 Kuleshov Lev In line with the aims described in Drubek s and Izvolov s 2005 article every Hyperkino DVD edition consists of a textus and an apparatus The apparatus in Hyperkino editions consists of alternative versions and footnotes connected to the film Footnote numbers on all Hyperkino DVDs appear during playback in the upper right corner of the frame In the RUSCICO editions the textus is on disc 1 language versions and the apparatus on disc 2 film without language versions but with Hyperkino footnotes Awards editIn 2010 at the Bologna festival Il Cinema Ritrovato three Hyperkino titles were awarded with the DVD Awards 2010 VII edition Best Special Features Bonus for their innovative handling of printed and illustrated commentaries The three DVDs were The Great Consoler Russia 1933 by Lev Kuleshov Ruscico Russia hyperkino annotations by Ekaterina Khokhlova Engineer Prite s Project Russia 1918 by Lev Kuleshov Ruscico Russia hyperkino annotations by N Drubek Meyer Nikolai Izvolov October Russia 1927 by Sergey Eisenstein Grigori Aleksandrov Ruscico Russia hyperkino annotations by Yuri Tsivian In the same year Hyperkino received another award from the Russian Guild of Film Critics and Scholars the Elephant 2010 Kinovedenie i kinokritika v elektronnych SMI novye technologii Reviews and reactions edit The idea of Hyperkino is a sensational breakthrough imagine what a potential is looming here 5 In his article The Mosaic Approach In defense of a nonlinear film criticism Jonathan Rosenbaum describes Hyperkino as a hybrid form existing somewhere between reading and watching like various computer related activities is part of what seems forward looking about them What all these forms of criticism suggest is not merely a less linear way of approaching film experience but also a more interactive methodology The fact that movies are being seen more and more often away from public theaters shouldn t necessarily mean that the way we all experience them and share our experiences is any less social Perhaps it s more pertinent to note that the very forms of our social interactions in relation to films are changing as well 8 Julian Graffy discusses Hyperkino from the perspective of the commentarist Engaging with the Hyperkino commentaries leads to thoughts about the fundamental differences between a spoken commentary the only version most viewers will so far have encountered and the predominantly written Hyperkino approach Graffy mentions the time factor which challenged the performance of audio commentators bottlenecks where too much is happening at once for you to cover all you want to say and longueurs where you wonder how to fill the space or worry about extended periods of silence None of these problems exists of course for the Hyperkino commentarist he or she is not time bound and the notes can be as short or as long as required They can also be more scholarly the notes on Strike especially are full of references to sources both printed and archival indicating to the scholar student viewer where to do further research And above all they have the advantage of hybridity which is why the Hyperkino notes are more than just a book on screen 9 In 2011 film critic and media scholar Joachim Schatz called the Hyperkino publication of the Kuleshov debut a mediated revolution vermittelte Revolution and Hyperkino one of the most exciting forms of reflection on film one can experience today Bibliography editNatascha Drubek and Nikolai Izvolov Critical Editions of Films on Digital Formats Cinema amp Cie autumn 2006 http hyperkino net hyperkino Texts Archive Critical Editions of Films on Digital Formats English Natascha Drubek and Nikolai Izvolov Kriticka vydani filmu v digitalnich formatech In Iluminace 2005 3 p 127 137 Czech Natascha Drubek and Nikolai Izvolov Textkritische Editionen von Filmen auf DVD Ein Diskussionsbeitrag in montage a v Zeitschrift fur Theorie amp Geschichte audiovisueller Kommunikation 16 1 07 p 183 199 German http www montage av de pdf 161 2007 161 2007 Natascha Drubeck Meyer Nikolai Izvolov Textkritische Editionen pdf Arina Abrosimova Novoe chorosho zabytoe staroe Literaturnaja gazeta Ezhenedel naja gazeta 2012 23 29 maja No 21 p 8 http www lgz ru article N21 6370 2012 05 23 Novo D0 B5 E2 80 93 horosho zab D1 8Bto D0 B5 staro D0 B519058 Eva Binder Lew Kuleschow Das Projekt des Ingenieurs Pright 1918 DVD Edition hg von absolut MEDIEN 2008 Mit Hyperkino Kommentar von Nikolai Izvolov und Natascha Drubek Meyer Osteuropa 2012 5 120 122 Peter Bosma Hyperkino Een DVD met voetnoten 2010 http www peterbosma info p blog amp blog 30 Michael Brooke Review of 2 Hyperkino DVDs of Eisenstein s Oktyabr and Stachka Sight amp Sound Vol 20 Issue 8 2010 p 87 Michael Brooke Review of 2 Hyperkino DVDs RUSCICO of Kuleshov s Engineer Prite s Project and The Great Consoler Sight amp Sound Vol 20 Issue 8 2010 p 88 Dagmar Brunow Lew Kuleschow Das Projekt des Ingenieurs Pright 1918 Eine Wiederentdeckung sowjetischen Kinos vor der staatlichen Forderung Lorettas Leselampe Freies Sender Kombinat Hamburg 10 8 2008 radio N S Cvetova U Marggraff Rezension Vsevolod Pudovkin The Heir to Genghis Khan Storm Over Asia 1928 DVD Edition mit 2 DVD Hg RUSCICO 2011 Hyperkino Annotationen von Sergej Kapterev https augenspiele wordpress com 2013 02 11 vsevolod pudovkin the heir to genghis khan storm over asia 1928 dvd edition mit 2 dvd hg ruscico 2011 hyperkino annotationen von sergej kapterev n s cvetova u marggraff N Drubek Meyer K voprosu o metodologii istoriko kriticheskogo izdanija fil mov na DVD In Mark Zak ed Istorija kino Sovremennyi vzgljad Kinovedenie i kritika Moskau 2004 56 61 N Drubek amp Erich Sargeant Paraphrase or commentarius currens DVD commentaries and ancient editing traditions In G Bursi S Venturini ed Critical Editions of Film Film Tradition Film Transcription in the Digital Era Pasian di Prato 2008 p 117 23 Christian Gosvig Olesen What Is Hyperkino Ruscico s Academia DVD series and the historical critical film edition https filmhistoryinthemaking com 2013 08 10 what is hyperkino ruscicos academia dvd series and the historical critical film edition Julian Graffy Hyperkino DVD Reviews Studies in Russian and Soviet Cinema Volume 4 Number 3 1 December 2010 pp 345 35 http hyperkino net hyperkino Texts Archive HYPERKINO 2010 Michal Kosak K podobe komentare nad filmovou serii Hyperkino Slovo a smysl 10 2013 c 20 p 314 317 http slovoasmysl ff cuni cz node 499 Stephen Norris Review of Proekt Inzhenera Praita Engineer Prite s Project Directed by Lev Kuleshov 1918 30 Minutes Hyperkino commentary by Nikolai Izvolov and Natascha Drubek Meyer RUSCICO Kino Academia 1 Velikii uteshitel O Genri v tiur me The Great Consoler O Henry in Prison Directed by Lev Kuleshov 1933 91 Minutes Hyperkino commentary by Ekaterina Khokhlova RUSCICO Kino Academia 3 http www artmargins com index php 6 film a video 634 lev kuleshov dir qproekt inzhenera praitaq qengineer prites projectq qvelikii uteshitel o genri v tiurmeq qthe great consoler ohenry in prisonq dvd review John Riley The Full Picture in Sight amp Sound 22 Sept 2012 Jonathan Rosenbaum The Mosaic Approach In defense of a nonlinear film criticism August 18 2010 Journal Moving Image Source Museum of the Moving Image N Y http www movingimagesource us articles the mosaic approach 20100818 Artem Sopin Artem SOPIN Kinotekstologiia Opyt klassifikatsii In Kinovedcheskie zapiski 98 2011 p 210 225 http www kinozapiski ru data home articles attache 210 225 pdf Kristin Thompson More revelations of film history on DVD October 24 2010 http www davidbordwell net blog 2010 10 24 more revelations of film history on dvd References edit On the relation of textus and apparatus cf Michal Kosak K podobe komentare nad filmovou serii Hyperkino Slovo a smysl 10 2013 c 20 p 314 317 http slovoasmysl ff cuni cz node 499 Systems eZ What is hyperkino hyperkino convergence Website Interface hyperkino net Retrieved 2016 12 03 Critical Editions of Films on Digital Formats Cinema amp Cie autumn 2006 A second English edition appeared in Studies in Russian and Soviet Cinema Volume 2 2008 Issue 2 205 216 The method was first described in the 2005 Russian original of the article Natascha Drubek Meyer Nikolaj Izvolov Kommentirovannoe izdanie fil mov na DVD neobchodimost naucnych standartov In Kinovedcheskie zapiski 72 2005 p 372 383 a b c Olesen Christian Gosvig 2013 08 10 What Is Hyperkino Ruscico s Academia DVD series and the historical critical film edition Film History in the Making Retrieved 2016 12 03 a b Bosma Peter Hyperkino Een dvd met voetnoten 2010 European Commission CORDIS Projects amp Results Service Final Activity Report Summary HYFIP Hypertextual Film Presentation Designing Digital Editions for the European Cinematographic Heritage cordis europa eu Retrieved 2016 12 03 ENGINEER PRITE S PROJECT cinando com The Mosaic Approach by Jonathan Rosenbaum Moving Image Source www movingimagesource us Retrieved 2016 12 03 Graffy Julian 2010 Hyperkino DVD Reviews Studies in Russian and Soviet Cinema 4 3 345 354 doi 10 1386 srsc 4 3 345 7 S2CID 220276212 External links edithttp hyperkino node9 org Retrieved from https en wikipedia org w index php title Hyperkino amp oldid 1179673447, wikipedia, wiki, book, books, library,

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