RAYMOND J. HABERSKI
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9780813124292
- eISBN:
- 9780813134918
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813124292.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter discusses Amos Vogel, who was one of two (the other was his wife Maria) who sought to show avant-garde films in New York. Their idea for a film society came from their time as being ...
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This chapter discusses Amos Vogel, who was one of two (the other was his wife Maria) who sought to show avant-garde films in New York. Their idea for a film society came from their time as being patrons of New York City's most influential avant-garde filmmaker, Maya Deren. The Vogels then tried showing films that they knew were not being seen with any regularity in the city, leading to their Cinema 16 to becoming unique and significant.Less
This chapter discusses Amos Vogel, who was one of two (the other was his wife Maria) who sought to show avant-garde films in New York. Their idea for a film society came from their time as being patrons of New York City's most influential avant-garde filmmaker, Maya Deren. The Vogels then tried showing films that they knew were not being seen with any regularity in the city, leading to their Cinema 16 to becoming unique and significant.
Catherine Elwes
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231174503
- eISBN:
- 9780231850803
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174503.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter explores how film came into its own as an autonomous art practice in installation. It first considers the material, procedural, industrial, psychoanalytic, phenomenological, political ...
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This chapter explores how film came into its own as an autonomous art practice in installation. It first considers the material, procedural, industrial, psychoanalytic, phenomenological, political and ontological specificities of film, encompassing moving image in both popular culture and art. It then examines how avant-garde film became so heavily academicized that watching films was now understood to be what A. L. Rees called “an act of reading” rather than the opportunity to go on a journey of “visual emotion” as Virginia Woolf suggested. In particular, it discusses the staging of mainstream, illusionist cinema, along with its disassembly by syntactical critique and material interference in the work of avant-garde filmmakers. It also looks at tendencies that carried over into expanded cinema and installation, primarily work that was concerned with the physical presence of the filmic apparatus and artists who undertook the deconstruction of cinematic codes driven by broadly leftist and feminist political convictions. Finally, it analyzes the illusionism of film in relation to the presupposition of indexicality.Less
This chapter explores how film came into its own as an autonomous art practice in installation. It first considers the material, procedural, industrial, psychoanalytic, phenomenological, political and ontological specificities of film, encompassing moving image in both popular culture and art. It then examines how avant-garde film became so heavily academicized that watching films was now understood to be what A. L. Rees called “an act of reading” rather than the opportunity to go on a journey of “visual emotion” as Virginia Woolf suggested. In particular, it discusses the staging of mainstream, illusionist cinema, along with its disassembly by syntactical critique and material interference in the work of avant-garde filmmakers. It also looks at tendencies that carried over into expanded cinema and installation, primarily work that was concerned with the physical presence of the filmic apparatus and artists who undertook the deconstruction of cinematic codes driven by broadly leftist and feminist political convictions. Finally, it analyzes the illusionism of film in relation to the presupposition of indexicality.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an ...
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This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.Less
This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.
Catherine Driscoll
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813034249
- eISBN:
- 9780813038421
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034249.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter examines the once controversial claim that the revolutionary impact of modernist art might as easily be found in cinema as in “higher” arts like literature, painting, and music. It also ...
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This chapter examines the once controversial claim that the revolutionary impact of modernist art might as easily be found in cinema as in “higher” arts like literature, painting, and music. It also extends the inclusion of cinema in canonical modernism to consider both how cinema helped constitute modernism itself and how discourse on cinema, serving as an index of what had changed in modern life, produced the kind of comprehensive narrative about culture now integral to cultural studies. In order to also focus on what cultural studies can say about modernism, the chapter discusses the pivotal modernist tension between mass culture and revolutionary art, considering, on the one hand, avant-garde film and, on the other, auteur cinema, which has both popular and avant-garde forms.Less
This chapter examines the once controversial claim that the revolutionary impact of modernist art might as easily be found in cinema as in “higher” arts like literature, painting, and music. It also extends the inclusion of cinema in canonical modernism to consider both how cinema helped constitute modernism itself and how discourse on cinema, serving as an index of what had changed in modern life, produced the kind of comprehensive narrative about culture now integral to cultural studies. In order to also focus on what cultural studies can say about modernism, the chapter discusses the pivotal modernist tension between mass culture and revolutionary art, considering, on the one hand, avant-garde film and, on the other, auteur cinema, which has both popular and avant-garde forms.
Tessa Dwyer
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474410946
- eISBN:
- 9781474434720
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474410946.003.0003
- Subject:
- Film, Television and Radio, Film
This case-study chapter focuses on the blanket rejection of both subtitling and dubbing at New York’s short-lived Invisible Cinema, established by Anthology Film Archives in the early 1970s. In ...
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This case-study chapter focuses on the blanket rejection of both subtitling and dubbing at New York’s short-lived Invisible Cinema, established by Anthology Film Archives in the early 1970s. In resurrecting the silent-era dream of non-translation, the Invisible Cinema drew attention, paradoxically, to translation’s centrality for screen culture generally and Anthology in particular – pinpointing the re-evaluative role that translation plays in screen culture by keeping ‘originals’ in circulation and contention. This point is affirmed by Anthology’s present-day operations and the residual legacy of its translation ban. Additionally, the chapter explores how the Invisible Cinema’s excessive zero-tolerance approach to translation actually takes certain pro-subtitling arguments to their logical conclusion and is hence ripe for deconstruction. Hence, this chapter outlines a route for revaluation developed further in subsequent chapters, identifying the flaws and failures of screen translation as necessary to the preservation and destabilisation of screen culture.Less
This case-study chapter focuses on the blanket rejection of both subtitling and dubbing at New York’s short-lived Invisible Cinema, established by Anthology Film Archives in the early 1970s. In resurrecting the silent-era dream of non-translation, the Invisible Cinema drew attention, paradoxically, to translation’s centrality for screen culture generally and Anthology in particular – pinpointing the re-evaluative role that translation plays in screen culture by keeping ‘originals’ in circulation and contention. This point is affirmed by Anthology’s present-day operations and the residual legacy of its translation ban. Additionally, the chapter explores how the Invisible Cinema’s excessive zero-tolerance approach to translation actually takes certain pro-subtitling arguments to their logical conclusion and is hence ripe for deconstruction. Hence, this chapter outlines a route for revaluation developed further in subsequent chapters, identifying the flaws and failures of screen translation as necessary to the preservation and destabilisation of screen culture.
Cécile Chich
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039683
- eISBN:
- 9780252097775
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039683.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter examines the centrality of the work of artistic duo Maria Klonaris and Katerina Thomadaki to the project of writing a feminist women's film history by focusing on the aesthetic and ...
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This chapter examines the centrality of the work of artistic duo Maria Klonaris and Katerina Thomadaki to the project of writing a feminist women's film history by focusing on the aesthetic and conceptual choices they made and on their thought-provoking contributions to feminist film practice. In particular, it considers Klonaris and Thomadaki's Cinéma corporel (Cinema of the Body). The chapter suggests that the female avant-garde film has, paradoxically, been marginalized by feminist film theory's focus on mainstream cinema as a site of patriarchal representation and spectatorship. It shows that Klonaris and Thomadaki's Cinéma corporel represents, for women's cinema, a strategy of dissidence. In form, content, concept, and approach, it calls for a revisitation of “film” outside the canon established in traditional film history. The chapter underscores the need to “heighten the visibility of women's contributions to traditions of formal innovation and explore how formal innovation enables women to enlarge discourses about women's subjectivity” and art.Less
This chapter examines the centrality of the work of artistic duo Maria Klonaris and Katerina Thomadaki to the project of writing a feminist women's film history by focusing on the aesthetic and conceptual choices they made and on their thought-provoking contributions to feminist film practice. In particular, it considers Klonaris and Thomadaki's Cinéma corporel (Cinema of the Body). The chapter suggests that the female avant-garde film has, paradoxically, been marginalized by feminist film theory's focus on mainstream cinema as a site of patriarchal representation and spectatorship. It shows that Klonaris and Thomadaki's Cinéma corporel represents, for women's cinema, a strategy of dissidence. In form, content, concept, and approach, it calls for a revisitation of “film” outside the canon established in traditional film history. The chapter underscores the need to “heighten the visibility of women's contributions to traditions of formal innovation and explore how formal innovation enables women to enlarge discourses about women's subjectivity” and art.
Pantelis Michelakis
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199239078
- eISBN:
- 9780191746840
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199239078.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter addresses the question of how dramatic texts become film images and sounds through stylization and abstraction in two avant-garde films, Jean–Marie Straub and Danièle Huillet's Antigone ...
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This chapter addresses the question of how dramatic texts become film images and sounds through stylization and abstraction in two avant-garde films, Jean–Marie Straub and Danièle Huillet's Antigone and Gregory Markopoulos' Illiac Passion. The two films explore the workings and limits of the transmissibility of texts, drawing out connections between recitation and prophetic messages or evidence brought to the attention of a court jury.Less
This chapter addresses the question of how dramatic texts become film images and sounds through stylization and abstraction in two avant-garde films, Jean–Marie Straub and Danièle Huillet's Antigone and Gregory Markopoulos' Illiac Passion. The two films explore the workings and limits of the transmissibility of texts, drawing out connections between recitation and prophetic messages or evidence brought to the attention of a court jury.
Laura Wittern-Keller
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9780813124513
- eISBN:
- 9780813134901
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813124513.003.0012
- Subject:
- Film, Television and Radio, Film
This chapter discusses Ronald Freedman's efforts to fight for the freedom of the screen. Freedman initially wanted to become a crusader for avant-garde films, but due to the interference of ...
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This chapter discusses Ronald Freedman's efforts to fight for the freedom of the screen. Freedman initially wanted to become a crusader for avant-garde films, but due to the interference of censorship, he was incited to become a free speech advocate instead. The case that Freedman was involved with turned out to be the big case in the razing of governmental film censorship.Less
This chapter discusses Ronald Freedman's efforts to fight for the freedom of the screen. Freedman initially wanted to become a crusader for avant-garde films, but due to the interference of censorship, he was incited to become a free speech advocate instead. The case that Freedman was involved with turned out to be the big case in the razing of governmental film censorship.
Richard H. Brown
- Published in print:
- 2019
- Published Online:
- January 2019
- ISBN:
- 9780190628079
- eISBN:
- 9780190628116
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190628079.003.0001
- Subject:
- Music, History, American
The introduction to this study explores the notion of audiovisuality as it pertains to John Cage’s interaction with avant-garde filmmakers. Moving from the corporeal notion of Cage’s “everyday ...
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The introduction to this study explores the notion of audiovisuality as it pertains to John Cage’s interaction with avant-garde filmmakers. Moving from the corporeal notion of Cage’s “everyday awareness,” audiovisuality is akin to the lived phenomenal experience. Artworks expressing such an awareness point to our understanding of the self and the lived experience. Such a framework allows for the exploration of a number of issues concerning “Cage Studies,” the flood of academic literature from the past two decades that has attempted to situate Cage’s complex aesthetic stances within 20th- and 21st-century theories of history.Less
The introduction to this study explores the notion of audiovisuality as it pertains to John Cage’s interaction with avant-garde filmmakers. Moving from the corporeal notion of Cage’s “everyday awareness,” audiovisuality is akin to the lived phenomenal experience. Artworks expressing such an awareness point to our understanding of the self and the lived experience. Such a framework allows for the exploration of a number of issues concerning “Cage Studies,” the flood of academic literature from the past two decades that has attempted to situate Cage’s complex aesthetic stances within 20th- and 21st-century theories of history.
Kaira M. Cabañas
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780226174457
- eISBN:
- 9780226174624
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226174624.003.0005
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter presents the effects of Lettrist experimentation as it relates to visual art's relationship with avant-garde film in postwar Europe. With their films, the Lettrists enlisted various ...
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This chapter presents the effects of Lettrist experimentation as it relates to visual art's relationship with avant-garde film in postwar Europe. With their films, the Lettrists enlisted various artistic practices, consciously framing their work in relation to multiple histories: from the modern novel and sound poetry, to theatre and painting. Lettrist cinema emerges as a crucial site for establishing an alternative genealogy for the intersections between art and film in the postwar moments as well as the critique of the institution of art. Lettrist work with film is critical of formal categories, testing the conventional limits of the medium through the chiseling of the image and attention to sound. In subsequent years, they extended such experimentation through the production of imaginary, infinitesimal, and supertemporal films.Less
This chapter presents the effects of Lettrist experimentation as it relates to visual art's relationship with avant-garde film in postwar Europe. With their films, the Lettrists enlisted various artistic practices, consciously framing their work in relation to multiple histories: from the modern novel and sound poetry, to theatre and painting. Lettrist cinema emerges as a crucial site for establishing an alternative genealogy for the intersections between art and film in the postwar moments as well as the critique of the institution of art. Lettrist work with film is critical of formal categories, testing the conventional limits of the medium through the chiseling of the image and attention to sound. In subsequent years, they extended such experimentation through the production of imaginary, infinitesimal, and supertemporal films.
Jan-Christopher Horak
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813147185
- eISBN:
- 9780813154787
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813147185.001.0001
- Subject:
- Film, Television and Radio, Film
Saul Bass defined an era. He designed movie posters, studio publicity, credit sequences for films, and corporate logos from the 1940s to the 1990s, and he was an Academy Award–winning filmmaker. As a ...
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Saul Bass defined an era. He designed movie posters, studio publicity, credit sequences for films, and corporate logos from the 1940s to the 1990s, and he was an Academy Award–winning filmmaker. As a result, Bass changed the look of both film advertising and cinema itself. Bass’s advertising, poster designs, and title sequences for Hollywood feature films were extremely innovative in terms of their formal design, use of iconography, and narrative content. All his film-related work incorporated aesthetic concepts borrowed from European modernist art and avant-garde cinema, creating a new, Americanized commercial mode of address and thereby transforming conventions that had remained relatively stagnant for decades. Inserting himself directly into the Hollywood film production process, Bass necessarily complicated the conception of film authorship, especially because his titles designs were often discussed independently from the films they introduced. Bass influenced not only other studio publicity designers and filmmakers but also a whole generation of young designers, many of whom he personally trained in his studio.Less
Saul Bass defined an era. He designed movie posters, studio publicity, credit sequences for films, and corporate logos from the 1940s to the 1990s, and he was an Academy Award–winning filmmaker. As a result, Bass changed the look of both film advertising and cinema itself. Bass’s advertising, poster designs, and title sequences for Hollywood feature films were extremely innovative in terms of their formal design, use of iconography, and narrative content. All his film-related work incorporated aesthetic concepts borrowed from European modernist art and avant-garde cinema, creating a new, Americanized commercial mode of address and thereby transforming conventions that had remained relatively stagnant for decades. Inserting himself directly into the Hollywood film production process, Bass necessarily complicated the conception of film authorship, especially because his titles designs were often discussed independently from the films they introduced. Bass influenced not only other studio publicity designers and filmmakers but also a whole generation of young designers, many of whom he personally trained in his studio.
Scott MacDonald
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199388707
- eISBN:
- 9780199388745
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199388707.001.0001
- Subject:
- Literature, Criticism/Theory
Avant-Doc is a collection of in-depth interviews with filmmakers who work in the territory between documentary and what is usually called avant-garde film, either within particular films or over the ...
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Avant-Doc is a collection of in-depth interviews with filmmakers who work in the territory between documentary and what is usually called avant-garde film, either within particular films or over the life of filmmaking careers. The volume is organized in a rough chronology beginning with a scholar (Annette Michelson) whose writing and editing have bridged the gap between documentary and avant-garde film, and several filmmakers (Robert Gardner, Ed Pincus, Alfred Guzzetti, Ross McElwee, Nina Davenport) whose work was formative in the development of particular kinds of documentary and “avant-doc.” Several European filmmakers (Leonard Retel Helmrich, Michael Glawogger, Susana de Sousa Dias) provide a broader perspective on current avant-doc practice; then the volume pans across a wide range of recent accomplishments, including the work of filmmakers who have dealt with the personal in inventive ways: Jonathan Caouette, Paweł Wojtasik, Todd Haynes, Susana de Sousa Dias, Amie Siegel, Alex Olch, Jane Gillooly, Betzy Bromberg, and Godfrey Reggio. Avant-Doc concludes with a focus on Harvard’s Sensory Ethnography Lab (SEL) and the remarkable avant-docs that have been produced under its auspices. The influence of MIT’s Film Section and Harvard’s Film Study Center and Carpenter Center for the Arts (and more recently, the SEL) is a major focus of the volume, though the filmmakers interviewed and the films they discuss raise a wide range of issues that are relevant to filmmakers around the world. The book as a whole and each interview is contextualized by an introduction. Filmographies and bibliographies are included.Less
Avant-Doc is a collection of in-depth interviews with filmmakers who work in the territory between documentary and what is usually called avant-garde film, either within particular films or over the life of filmmaking careers. The volume is organized in a rough chronology beginning with a scholar (Annette Michelson) whose writing and editing have bridged the gap between documentary and avant-garde film, and several filmmakers (Robert Gardner, Ed Pincus, Alfred Guzzetti, Ross McElwee, Nina Davenport) whose work was formative in the development of particular kinds of documentary and “avant-doc.” Several European filmmakers (Leonard Retel Helmrich, Michael Glawogger, Susana de Sousa Dias) provide a broader perspective on current avant-doc practice; then the volume pans across a wide range of recent accomplishments, including the work of filmmakers who have dealt with the personal in inventive ways: Jonathan Caouette, Paweł Wojtasik, Todd Haynes, Susana de Sousa Dias, Amie Siegel, Alex Olch, Jane Gillooly, Betzy Bromberg, and Godfrey Reggio. Avant-Doc concludes with a focus on Harvard’s Sensory Ethnography Lab (SEL) and the remarkable avant-docs that have been produced under its auspices. The influence of MIT’s Film Section and Harvard’s Film Study Center and Carpenter Center for the Arts (and more recently, the SEL) is a major focus of the volume, though the filmmakers interviewed and the films they discuss raise a wide range of issues that are relevant to filmmakers around the world. The book as a whole and each interview is contextualized by an introduction. Filmographies and bibliographies are included.
Howard Pollack
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780190458294
- eISBN:
- 9780190458324
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190458294.003.0015
- Subject:
- Music, History, American
Latouche had a side career in film. This included writing songs for two avant-garde films by Hans Richter, Dreams That Money Can Buy and 8 x 8. He also wrote the narration for a Herbert Matter film ...
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Latouche had a side career in film. This included writing songs for two avant-garde films by Hans Richter, Dreams That Money Can Buy and 8 x 8. He also wrote the narration for a Herbert Matter film about Alexander Calder, and began his own film company, Aries Productions, which produced Maya Deren’s last completed film, The Very Eye of Night, and an animated film based on his poem “The Peppermint Tree.” In one instance, he started to direct his own short, Presenting Jane, in conjunction with his friendship with the New York poets, but the film was never completed.Less
Latouche had a side career in film. This included writing songs for two avant-garde films by Hans Richter, Dreams That Money Can Buy and 8 x 8. He also wrote the narration for a Herbert Matter film about Alexander Calder, and began his own film company, Aries Productions, which produced Maya Deren’s last completed film, The Very Eye of Night, and an animated film based on his poem “The Peppermint Tree.” In one instance, he started to direct his own short, Presenting Jane, in conjunction with his friendship with the New York poets, but the film was never completed.
David E. James
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816677252
- eISBN:
- 9781452947440
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816677252.003.0009
- Subject:
- Art, Art History
This chapter focuses on the Single Wing Turquoise Bird, the premier light show in Los Angeles as well as one of the best in the world during the last years of the 1960s and the first of the 1970s. ...
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This chapter focuses on the Single Wing Turquoise Bird, the premier light show in Los Angeles as well as one of the best in the world during the last years of the 1960s and the first of the 1970s. First formed in the spring of 1968 to accompany rock concerts at the Shrine Auditorium and Exposition Hall in Los Angeles, the light show several times reconfigured its membership and its performance modes, freeing itself from supplementarity to the rock events. Developing many different technologies and sources of both imagery and abstract light, it evolved into an autonomous multimedia unit that innovated the collectively improvised, real-time composition of projected light. Inspired by both the technological and sociocultural possibilities of its own time, the Single Wing Turquoise Bird expanded and elaborated such intersections between avant-garde film and visual music.Less
This chapter focuses on the Single Wing Turquoise Bird, the premier light show in Los Angeles as well as one of the best in the world during the last years of the 1960s and the first of the 1970s. First formed in the spring of 1968 to accompany rock concerts at the Shrine Auditorium and Exposition Hall in Los Angeles, the light show several times reconfigured its membership and its performance modes, freeing itself from supplementarity to the rock events. Developing many different technologies and sources of both imagery and abstract light, it evolved into an autonomous multimedia unit that innovated the collectively improvised, real-time composition of projected light. Inspired by both the technological and sociocultural possibilities of its own time, the Single Wing Turquoise Bird expanded and elaborated such intersections between avant-garde film and visual music.
Randall Halle
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038457
- eISBN:
- 9780252096334
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038457.001.0001
- Subject:
- Film, Television and Radio, Film
This innovative study advances the concept of “interzones”—geographical and ideational spaces of transit, interaction, transformation, and contested diversity—as a mechanism for analyzing European ...
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This innovative study advances the concept of “interzones”—geographical and ideational spaces of transit, interaction, transformation, and contested diversity—as a mechanism for analyzing European cinema. The book focuses especially on films about borders, borderlands, and cultural zones as it traces the development of interzones from the inception of central European cinema to the avant-garde films of today. Throughout, it shows how cinema both reflects and engenders interzones that explore the important questions of Europe's social order: imperialism and nation-building in the late nineteenth and early twentieth centuries; “first contact” between former adversaries (such as East and West Germany) following World War II and the Cold War; and migration, neo-colonialism, and cultural imperialism in the twenty-first century. Ultimately, the book argues that today's cinema both produces and reflects imaginative communities. It demonstrates how, rather than simply erasing boundaries, the European Union instead fosters a network of cultural interzones that encourage cinematic exploration of the new Europe's processes and limits of connectivity, tolerance, and cooperation.Less
This innovative study advances the concept of “interzones”—geographical and ideational spaces of transit, interaction, transformation, and contested diversity—as a mechanism for analyzing European cinema. The book focuses especially on films about borders, borderlands, and cultural zones as it traces the development of interzones from the inception of central European cinema to the avant-garde films of today. Throughout, it shows how cinema both reflects and engenders interzones that explore the important questions of Europe's social order: imperialism and nation-building in the late nineteenth and early twentieth centuries; “first contact” between former adversaries (such as East and West Germany) following World War II and the Cold War; and migration, neo-colonialism, and cultural imperialism in the twenty-first century. Ultimately, the book argues that today's cinema both produces and reflects imaginative communities. It demonstrates how, rather than simply erasing boundaries, the European Union instead fosters a network of cultural interzones that encourage cinematic exploration of the new Europe's processes and limits of connectivity, tolerance, and cooperation.
Howard Pollack
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780190458294
- eISBN:
- 9780190458324
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190458294.001.0001
- Subject:
- Music, History, American
Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his ...
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Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.Less
Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.
