The Music and Sound of Experimental Film PDF Download

Author: Holly Rogers (Professor of music)
Publisher: Oxford University Press
ISBN: 0190469897
Category : Music
Languages : en
Pages : 337

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Book Description
Holly Rogers is Senior Lecturer in Music at Goldsmiths, University of London. Book jacket.

Author: Yael Kaduri
Publisher: Oxford University Press
ISBN: 0199841543
Category : Art
Languages : en
Pages : 553

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Book Description
Résumé en 4ème de couverture: "This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it-together with sound, voice, and text-to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema. Sittingat the cutting edge of the field of music and visual arts, this book offers a unique, and at times controversial, view of this rapidly envolving area of study. Artists, curators, students, and scholars will find here a panoramic view of discourse in the field, presented by an international roster of scholars and practitioners."

Author: Lea Jacobs
Publisher: Univ of California Press
ISBN: 0520279654
Category : MUSIC
Languages : en
Pages : 280

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Book Description
The seemingly effortless integration of sound, movement, and editing in films of the late 1930s stands in vivid contrast to the awkwardness of the first talkies. Film Rhythm after Sound analyzes this evolution via close examination of important prototypes of early sound filmmaking, as well as contemporary discussions of rhythm, tempo, and pacing. Jacobs looks at the rhythmic dimensions of performance and sound in a diverse set of case studies: the Eisenstein-Prokofiev collaboration Ivan the Terrible, Disney’s Silly Symphonies and early Mickey Mouse cartoons, musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks’s films. Jacobs argues that the new range of sound technologies made possible a much tighter synchronization of music, speech, and movement than had been the norm with the live accompaniment of silent films. Filmmakers in the early years of the transition to sound experimented with different technical means of achieving synchronization and employed a variety of formal strategies for creating rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm and pacing, as was the case in mickey mousing, the close integration of music and movement in animation. However, by the mid-1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs’s highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies.

Author: Mervyn Cooke
Publisher: Cambridge University Press
ISBN: 1107094518
Category : Music
Languages : en
Pages : 439

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Book Description
A stimulating and unusually wide-ranging collection of essays overviewing ways in which music functions in film soundtracks.

Author: A.L. Rees
Publisher: Bloomsbury Publishing
ISBN: 1838714197
Category : Performing Arts
Languages : en
Pages : 208

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Book Description
Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse. In this revised and updated edition, Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from Cézanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts. The new edition includes a review of current scholarship in avant-garde film history and includes updated reading and viewing lists. It also features a new introduction and concluding chapter, which assess the rise of video projection in the gallery since the millennium, and describe new work by the latest generation of experimental film-makers. The new edition is richly illustrated with images of the art works discussed.

Author: Federico Windhausen
Publisher: John Wiley & Sons
ISBN: 1119107903
Category : Performing Arts
Languages : en
Pages : 484

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Book Description
An exploration of what experimental cinema was, is, and might become A Companion to Experimental Cinema is a collection of original essays organized around both theoretical and historical issues of concern to film scholars, programmers, filmmakers, and viewers. Newly-commissioned essays written by specialists in the field, along with dialogues conducted with a diverse range of practitioners, focus on core subjects to present an international array of overlapping and contrasting perspectives. This unique text not only provides detailed accounts of particular films and filmmakers, but also discusses new approaches of understanding, characterizing, and shaping experimental cinema. The Companion offers readers an accessible point of entry to the material while seeking to contribute to scholarly debates. Essays explore a wide range of topics within the realm of experimental film, including the shift from traditional biography to broader contexts, the increased attention afforded to local and transnational circuits of exchange, and the deepening of theoretical considerations regarding cultural identity and cinematic aesthetics. Key themes and concepts are inter-woven throughout the text, offering fresh perspectives on experimental cinema’s dialogues with other modes and practices of film and video, its interactions with the non-cinematic arts, its responses to changing technological landscapes, and more. An essential addition to the field, the Companion: Balances introductory summaries and scholarly dialogue with existing literature Explores how the study of experimental cinema can benefit from scholarship in other disciplines Includes numerous analyses of films that are readily available to view via digital media Discusses both canonical and obscure or neglected works Examines the effects of the growing diversification of experimental film scholarship A Companion to Experimental Cinema is a valuable resource for scholars of film studies and art history, curators and programmers, critics and bloggers, filmmakers and artists, and anyone interested in exploring experimental or avant-garde cinema.

Author: Steve Hullfish
Publisher: Taylor & Francis
ISBN: 1315297116
Category : Art
Languages : en
Pages : 321

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Book Description
Art of the Cut provides an unprecedented look at the art and technique of contemporary film and television editing. It is a fascinating "virtual roundtable discussion" with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees. Together they have over a thousand years of editing experience and have edited more than a thousand movies and TV shows. Hullfish carefully curated over a hundred hours of interviews, organizing them into topics critical to editors everywhere, generating an extended conversation among colleagues. The discussions provide a broad spectrum of opinions that illustrate both similarities and differences in techniques and artistic approaches. Topics include rhythm, pacing, structure, storytelling and collaboration. Interviewees include Margaret Sixel (Mad Max: Fury Road), Tom Cross (Whiplash, La La Land), Pietro Scalia (The Martian, JFK), Stephen Mirrione (The Revenant), Ann Coates (Lawrence of Arabia, Murder on the Orient Express), Joe Walker (12 Years a Slave, Sicario), Kelley Dixon (Breaking Bad, The Walking Dead), and many more. Art of the Cut also includes in-line definitions of editing terminology, with a full glossary and five supplemental web chapters hosted online at www.routledge.com/cw/Hullfish. This book is a treasure trove of valuable tradecraft for aspiring editors and a prized resource for high-level working professionals. The book’s accessible language and great behind-the-scenes insight makes it a fascinating glimpse into the art of filmmaking for all fans of cinema. Please access the link below for the book's illustration files. Please note that an account with Box is not required to access these files: https://informausa.app.box.com/s/plwbtwndq4wab55a1p7xlcr7lypvz64c

Author: Richard H. Brown
Publisher: Oxford Music/Media
ISBN: 0190628073
Category : Performing Arts
Languages : en
Pages : 257

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Book Description
Through the Looking Glass examines John Cage's interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage's career. As the commercially dominant media form in the twentieth century, cinema transformed the way listeners were introduced to and consumed music. Cage's quest to redefine music, intentionality, and expression reflect the similar transformation of music within the larger audiovisual experience of sound film. This volume examines key moments in Cage's career where cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage's own consideration of the musical artwork, pointing to newfound collision points that have a significant and heretofore unacknowledged role in Cage's notions of the audiovisual experience and the medium-specific ontology of a work of art.

Author: Gemma Files
Publisher: Open Road Media
ISBN: 1504063635
Category : Fiction
Languages : en
Pages : 378

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Book Description
The award-winning author of the Hexslinger Series “explores the world of film and horror in a way that will leave you reeling” (Jeff VanderMeer, author of the Southern Reach Trilogy). Former film teacher Lois Cairns is struggling to raise her autistic son while freelancing as a critic when, at a screening, she happens upon a sampled piece of silver nitrate silent footage. She is able to connect it to the early work of Mrs. Iris Dunlopp Whitcomb, the spiritualist and collector of fairy tales who mysteriously disappeared from a train compartment in 1918. Hoping to make her own mark on the film world, Lois embarks on a project to prove that Whitcomb was Canada’s first female filmmaker. But her research takes her down a path not of darkness but of light—the blinding and searing light of a fairy tale made flesh, a noontime demon who demands that duty must be paid. As Lois discovers terrifying parallels between her own life and that of Mrs. Whitcomb, she begins to fear not just for herself, but for those closest to her heart. Winner of the Shirley Jackson Award for Best Novel “One of the standout horror novels of 2015 . . . From an author who has already established herself as one of the genre’s most original and innovative voices, Experimental Film is a remarkable achievement.” —Los Angeles Review of Books “Experimental Film represents the next, significant contribution to what is emerging as one of the most interesting and exciting bodies of work currently being produced in the horror field. Every film, Lois Cairns writes, is an experiment. The same might be said of every novel. This one succeeds, wildly.” —Locus “Experimental Film is sensational. When we speak of the best in contemporary horror and weird fiction, we must speak of Gemma Files.” —Laird Barron “[Experimental Film is] truly unnerving. This is a too-often overlooked postmodern gem.” —Esquire, “The 50 Best Horror Books of All Time”

Author: Jay Beck
Publisher: University of Illinois Press
ISBN: 0252056965
Category : Performing Arts
Languages : en
Pages : 358

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Book Description
As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambient noise affect identity formation and subjectivity. Lowering the Boom also analyzes how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterized by a distinct break from the narratively based sound practices of mainstream cinema. This interdisciplinary, global approach to the theory and history of film sound opens the eyes and ears of film scholars, practitioners, and students to film's true audio-visual nature. Contributors are Jay Beck, John Belton, Clark Farmer, Paul Grainge, Tony Grajeda, David T. Johnson, Anahid Kassabian, David Laderman, James Lastra, Arnt Maasø, Matthew Malsky, Barry Mauer, Robert Miklitsch, Nancy Newman, Melissa Ragona, Petr Szczepanik, Paul Théberge, and Debra White-Stanley.