I have a series of films titled Film for Music for Film that were all created/composed to music. The idea was to give equal weight to both the music and the film but the music came first. I can let you know more about this series (which also includes my film De Profundis plus my 5 multi screen one-hour work CAGE: A FILMIC CIRCUS ON METAPHORS ON VISION).
You can preview some of the films on the Lightcone website at: http://lightcone.org/en/filmmaker-41-lawrence-f-brose You can read brief descriptions of some of the films on Canyon Cinema¹s website at: http://canyoncinema.com/catalog/filmmaker/?i=54 Plus a brief overall description at: http://canyoncinema.com/catalog/film/?i=2624 Please contact me off list if you have any questions. Best, Lawrence On 1/9/13 4:32 PM, "Herb Shellenberger" <[email protected]> wrote: > 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 Spengler¹s 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 Wyborny¹s > 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 ³Through the Mysterious Barricade, > Lumen 1 (after F. Couperin),² he included a note that thanked me for my film, > ³The Riddle of Lumen,² 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 ³The Riddle of Lumen² 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 ³Lemma²) 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 ³play² 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, I¹m more interested in films that > exclusively use this method, whether it is with one complete piece or a few. > Also, I¹m 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 > <http://www.ihousephilly.org/> > > > > _______________________________________________ FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks
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