We constructed this 16mm lighting gel film to a specific music track, http://vimeo.com/20349285
debbie On 10 January 2013 16:06, William Wees, Dr. <[email protected]> wrote: > ****************** > > Several hand-drawn animation films by Norman McLaren fit the bill: Boogie > Doodle, Fiddle-De-Dee, Hen Hop, Hoppity Pop, Begone Dull Care (the best of > the bunch, I think. Like their titles, the others are too cute for my > taste).**** > > ** ** > > --Bill**** > > ** ** > > William C. Wees**** > > Emeritus Professor (********McGill****** ****University******)**** > > **** > ------------------------------ > > *From:* [email protected] [mailto: > [email protected]] *On Behalf Of *Herb Shellenberger > *Sent:* January 9, 2013 4:32 PM > > *To:* Experimental Film Discussion List > *Subject:* [Frameworks] Films composed to music > **** > > ** ** > > Hello Frameworkers. There have been a few really great > looking-for-this-type-of-film threads recently, so I thought I would throw > my query out there.**** > > ** ** > > A colleague and I were discussing experimental films that were composed to > music. In general we think of film scores being added after the fact, but > there are few films that I can think of that are composed specifically to > fit a piece of music:**** > > ** ** > > ** ** > > *Studies for the Decay of the West* (dir. Klaus Wyborny)**** > > *In Wyborny's "musical film," every new sound triggers a new image: 6,299 > shots, all directly edited within his Super-8 camera.* An intoxicating, > stroboscopic trip to industrial, natural and urban landscapes in East > Africa, New York, the Ruhr region and Rimini. This experimental music film > refers to Oswald Spengler’s world-famous 1918 philosophical work *The > Decay of the West*. Culture pessimist Spengler argues that progress is an > illusion and that the modern era brings little good. People are no longer > able to understand the rationality of the world. Wyborny does not set out > to make a film version of Spengler's theories, but rather a visual > reflection on the modern age; a stroboscopic journey in five parts to > industrial, natural and urban landscapes. *He uses 6,299 shots, edited > directly in a Super-8 camera. Each piano note and violin vibrato evokes a > new image: demolished buildings, rubble, destruction and nature.* This > film forms a counterpart to Wyborny’s previous films series *Eine andere > Welt. Lieder der Erde II*(2004/2005). [Film Society of Lincoln Center]**** > > ** ** > > ** ** > > *Passage Through: A Ritual *(dir. Stan Brakahge)**** > > *When I received the tape of Philip Corner's “Through the Mysterious > Barricade, Lumen 1 (after F. Couperin),” he included a note that thanked me > for my film, “The Riddle of Lumen,” he'd just seen and which had in some > way inspired this music. I, in turn, was so moved by the tape he sent I > immediately asked his permission to "set it to film."* It required the > most exacting editing process ever; and in the course of that work it > occurred to me that I'd originally made “The Riddle of Lumen” hoping > someone would make an "answering" film and entertain my visual riddle in > the manner of the riddling poets of yore. I most expected Hollis Frampton > (because of Zorn's “Lemma”) to pick up the challenge; but he never did. In > some sense I think composer Corner has - and now we have this dance of > riddles as music and film combine to make "passage," in every sense of the > word, further possible. (To be absolutely "true to" the ritual of this > passage, the two reels of the film should be shown on one projector, taking > the normal amount of time, without rewinding reel #1 or showing the finish > and start leaders of either - especially without changing the sound dials - > between reels.) [Stan Brakhage, via CFMDC]**** > > ** ** > > ** ** > > These are both films that use film to “play” music in a sense, or use > music to generate images or structures. While some filmmakers may have used > music in this way in a portion of a larger film, I’m more interested in > films that exclusively use this method, whether it is with one complete > piece or a few. Also, I’m trying to focus on films that integrate music > more deeply than just cutting on specific beats. **** > > ** ** > > Any ideas would be much appreciated! **** > > ** ** > > *Herb Shellenberger***** > > *Programs Office Manager***** > > **** > > 3701 CHESTNUT STREET | PHILADELPHIA, PA 19104**** > > phone: 215.895.6575 | fax: 215.895.6562**** > > email: [email protected] | web: www.ihousephilly.org**** > > ** ** > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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