Academic literature on the topic 'Musical short films'
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Journal articles on the topic "Musical short films"
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Mangion, Suzy. "Rainbow remixes: Cut and paste sound in the films of Len Lye." Soundtrack 13, no. 1 (October 1, 2022): 3–15. http://dx.doi.org/10.1386/ts_00013_1.
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Len Lye made extraordinary, energetic direct films in the mid-1930s with the help of his sound editors, Jack Ellit and Ernst Meyer. While receiving recognition for his visual animation, the full extent to which Lye broke new audio-visual ground has been underestimated. This article proposes Lye and his collaborators as important pioneers of audio remixing, a musical process generally assumed to have much later origins. His short, hand-painted films including Rainbow Dance (1936) and Trade Tattoo (1937) were constructed using little to no visual editing, while their soundtracks were substantially cut and pasted. These soundtracks were painstakingly constructed from pre-existing musical recordings, re-arranged into bespoke instrumentals. This significant audio-visual accomplishment has remained largely unnoticed, despite predating experiments in audio manipulation by better-known composers. This article brings these considerable audio-visual innovations to the fore, and highlights the important relationship between dance music and Lye’s avant-garde filmmaking.
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Vargas, Ómar. "“Remedios in the Sky with Diamonds: Gabriel García Márquez and the Beatles in their own Write.”." Latin American Literary Review 47, no. 94 (June 16, 2020): 2–8. http://dx.doi.org/10.26824/lalr.160.
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This paper reflects on some of the parallels and intersections in the life and work of García Márquez and the Beatles, and delves into the connections between their seemingly related composition of literary, visual, and musical artifacts during the 1960s. Thus, specific, and at times unexpected, correspondences unfold: themes like solitude and dementia, characters like Rebeca Buendía/Eleanor Rigby or Remedios, la bella/Lucy in the Sky with Diamonds, ships like the yellow train/the yellow submarine, journeys to the bottom of the sea and to fictional places like Macondo/Pepperland that question reality and authority, and even the lives and deaths of John Lennon and García Márquez. By examining Beatles songs and films and with close reading of several chapters from Cien años de soledad and from several short stories and opinion columns written by García Márquez, I unravel an exciting implicit collaboration between Colombia’s most famous writer and one of the world’s most celebrated musical bands.
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Valkola, Jarmo. "Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films." Baltic Screen Media Review 3, no. 1 (November 1, 2015): 44–63. http://dx.doi.org/10.1515/bsmr-2015-0023.
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Abstract Aki Kaurismäki is arguably the best-known Finnish filmmaker, owing largely to his feature films such as Crime and Punishment (Rikos ja rangaistus, Finland, 1983), Calamari Union (Finland, 1985), Shadows in Paradise (Varjoja paratiisissa, Finland, 1986), Hamlet Goes Business (Hamlet liikemaailmassa, Finland, 1987), Ariel (Finland, 1988), The Match Factory Girl (Tulitikkutehtaan tyttö, Finland, 1990), I Hired a Contract Killer (Finland/ Sweden, 1990), La vie de bohéme (Finland/France/ Sweden/Germany, 1992), Take Care of Your Scarf, Tatiana (Pidä huivista kiinni, Tatjana, Finland/Germany, 1994), Drifting Clouds (Kauas pilvet karkaavat, Finland, 1996), Juha (Finland, 1999), The Man Without a Past (Mies vailla menneisyyttä, Finland, 2002), Lights in the Dusk (Laitakaupungin valot, Finland, 2006) and Le Havre (Finland/France, 2011). A large body of his work has been made in Finland, but also in countries like France and Great Britain. Besides feature films, he has also made documentaries and short films, as well as musical films with the group Leningrad Cowboys. In a broader context, Kaurismäki has a unique place in Finnish and international film history, as well as in media and communication culture. Kaurismäki’s cultural context includes elements that have been turned into national and transnational symbols of social communication and narrative interaction by his stylisation. The director’s cinematic strategy investigates and makes choices evoking a social understanding of characters that has special communicative value. Kaurismäki’s films have been scrutinised for over thirty years.
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Vasic, Aleksandar. "Review of music: Forgotten musical magazine of inter-war Belgrade." Muzikologija, no. 19 (2015): 119–33. http://dx.doi.org/10.2298/muz1519119v.
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The monthly magazine Review of Music was published six times in Belgrade from January to June 1940. Each edition comprised thirty-two pages, half of which were devoted to a sheet-music supplement, popular compositions of the time for voice and piano. Review of Music published 222 articles and scores in total. The aim of the magazine was to popularise classical music, but it also encompassed jazz, films and film music, theatre, literature, fashion, and even sport. Review of Music was different from all other Serbian inter-war music magazines, not only because of its wide range of topics, but also because it published anonymous articles, probably taken from other sources, but it is not known from where. This study analyses the articles about classical music in Review of Music. In several short chapters the author presents the concept of the magazine, its genre structure, themes addressed, and the style of its music writers. Selected examples show that article authors tended to exploit elements of narrative (with an emphasis on impressive details), humour, and moral teaching. The authors also especially emphasized the neutral attitude of Review of Music towards contemporary music, although the magazine published different views of contemporary composers concerning the aesthetics of modern music. Review of Music started four months after Germany invaded Poland. However, in the journal references to social and political events are non-existant. The journal seems to have been interested only in culture and the arts. However, the author of this study presents examples in which the political circumstances of the time can be perceived. One of these examples is the visit of the Frankfurt Opera House to Belgrade in 1940. That extraordinary cultural event was attended by Prince Paul Karadjordjevic and Princess Olga, the Yugoslav Prime Minister, and almost all other government ministers. In this news, any authority on the political situation of the time could see that the Yugoslav government and the political elite took care of delicate relations with Germany at that time. This is the first study to analyse the concept and content of classical music in Review of Music. This magazine is certainly an interesting source, not only for the history of Serbian music periodicals, but also for cultural history.
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Grytsun, Yuliia. "The reflection of fabulousness in Igor Kovach’s musical theatre (on the example of the fairy-tale ballet “Bambi”)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 78–91. http://dx.doi.org/10.34064/khnum2-23.05.
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Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers become listener, among them the fairy-tale ballets “The Northern Tale” and “Bambi”. The children’s music by I. K. Kovach did not receive proper consideration except for short newspaper essays and magazine notes, M. Bevz’s (2007) article devoted to children’s piano music. Thus, the problem of holistic study of children’s stage music by Igor Kovach still remains open. Objectives. The present article is devoted to the identification of musicalthematic, timbre-texture, genre-stylistic features, with the help of which the multifaceted figurative world of the ballet “Bambi” is embodied. The aim and the tasks of this research – to reveal the specifics of the figurative world of the fairytale ballet “Bambi” and to identify the musical means by which it is embodied. The role of the orchestra is established, the means of thematic characteristics of the characters are traced, and the peculiarities of the musical language stipulated by the requirements of the chosen genre are noted. Methodology. To achieve the aim we have used special scientific methods: genre, stylistic, intonation-dramaturgical and compositional ones. The presentation of the main material. The music for the fairy-tale ballet “Bambi” belongs to two authors: Igor Kovach and his son Yuri. The new features inherent in the sound palette are manifested in the instrumentation, where along with the usual composition of a modern symphony orchestra there are saxophones, rhythm- and bass-guitars, drums, which due to their timbres bring a sharp taste of emotional and behavioural looseness. Introducing the qualities of non-academic tradition into the academic orchestra, the authors, on the one hand, use them according to their origin, on the other – turn them into an organic part of the symphonic score. By making a “concession” to pop music, simplifying harmonious language, freeing it from the extreme manifestations of expanded tonality, bringing it closer, on the one hand, to classical-romantic, on the other – to jazz, Igor Kovach showed his inherent sense of modernity, “address quality” of creativity. Conclusions. Thus, the fabulous multifaceted world of “Bambi” is revealed in the ballet owing to the bright thinking and language of the composer. The action of the ballet takes place against the background of bright genre sketches, which are as if immersed in the very density of life. This impression arises due to the dynamics of rhythms, colourful orchestration, and a variety of styles, addressed to the sound world of today. Generalized intonations of academic art organically coexist with the turns of song quality of different origins, dance quality, march quality, jazz improvisations, which was facilitated by the co-authorship with Yuri Kovach.
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Leggott, James. "Come to Daddy? Claiming Chris Cunningham for British Art Cinema." Journal of British Cinema and Television 13, no. 2 (April 2016): 243–61. http://dx.doi.org/10.3366/jbctv.2016.0311.
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Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism.
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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO." Culture Crossroads 10 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.
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The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film’s production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi (“Two”, 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi (“Breathe Deeply”, 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē (“Apple in the River”, 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.
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Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (September 13, 2012): 54–74. http://dx.doi.org/10.7202/1013161ar.
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This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
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Chełkowska-Zacharewicz, Maria, and Mateusz Paliga. "Music emotions and associations in film music listening: The example of leitmotifs from The Lord of the Rings movies." Roczniki Psychologiczne 22, no. 2 (January 10, 2020): 151–75. http://dx.doi.org/10.18290/rpsych.2019.22.2-4.
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The aim of the present study was to investigate which musical emotions and associations appeared while listening to leitmotifs in film music. A sample of 157 participants took part in the study, in which musical associations and emotions were analysed in relation to seven groups of musical themes from The Lord of the Rings films (LOTR). The LOTR soundtrack is a good example of the use of symbols in music to represent ideas, characters, etc. The results show that both the respondents’ associations and the musical emotions they experienced were related to the characteristics of musical motifs. The results are discussed in relation to the assumed features of musical motifs composed by Howard Shore.
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Harbert. "Reviews of Short Films." Ethnomusicology 63, no. 2 (2019): 350. http://dx.doi.org/10.5406/ethnomusicology.63.2.0350.
Full textDissertations / Theses on the topic "Musical short films"
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Shankar, Vikram A. "Symphonies of Horror: Musical Experimentation in Howard Shore's Work with David Cronenberg." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1493750469131887.
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Vance, Sharie. "Miz Markley." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849604/.
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Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.
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(9792854), James Douglas. "How recording 'shattered' representation: The emergence and transformation of musical short films." Thesis, 2007. https://figshare.com/articles/thesis/How_recording_shattered_representation_The_emergence_and_transformation_of_musical_short_films/13459712.
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"This project embraces a combination of cultural studies and historical approaches in an examination of the emergence of audiovisuality through developments in recording technologies (particularly those that separated and attempted to re-synchronise sounds and images) near the end of the nineteenth and into the early/mid-twentieth centuries." -- abstract
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Hellégouarch, Solenn. "Une méthode dangereuse : comprendre le processus créateur en musique de film, le cas de Norman McLaren et Maurice Blackburn, David Cronenberg et Howard Shore." Thèse, 2015. http://hdl.handle.net/1866/12312.
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Cette version de la thèse a été tronquée des certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM.Si Norman McLaren (1914-1987) œuvre principalement dans le domaine onirique de l’animation, David Cronenberg (1943-), parfois surnommé « The Baron of Blood », réalise des films de fiction appartenant à un genre singulier qu’il a lui-même développé, celui de « l’horreur intérieure ». Que peuvent donc partager ces deux cinéastes aux univers a priori si distincts ? Chacun a construit une relation à long terme avec un compositeur : Maurice Blackburn (1914-1988) pour le premier, Howard Shore (1946-) pour le second. Mais si les univers des deux réalisateurs ont été maintes fois investigués, l’apport de leurs compositeurs respectifs demeure peu examiné. Or, d’un univers à l’autre, la musique semble jouer un rôle de toute première importance, chacun des compositeurs étant impliqué très tôt dans le processus cinématographique. Cette implication précoce dans la création collective est indicatrice de la place et du rôle centraux qu’occupent Blackburn et Shore et leur musique au sein de l’œuvre de McLaren, d’une part, et de Cronenberg, de l’autre. De la sorte, les partitions semblent ne pouvoir être considérées comme une simple illustration sonore des films, mais comme une composante tout à fait fondamentale, relançant dès lors la question du rôle de la musique au cinéma : comment le définir ? En outre, au fil de la rencontre continue sur plusieurs films, musique et cinéma en sont venus à un entrelacement tel qu’un style singulier de musicalisation des images se serait développé : quels sont les traits qui définissent ce style ? D’une collaboration à l’autre, cette thèse cherche à établir une poïétique de la création musico-filmique ; elle cherche à décrire et à comprendre les processus créateurs filmique et musical qui déterminent la composition d’une musique de film et, plus encore, une musicalité de tout le complexe audio-visuel. À travers des portraits examinant la pratique et le discours des créateurs et quatre analyses de bandes sonores (A Phantasy de Norman McLaren, Jour après jour de Clément Perron, Crash et A Dangerous Method de David Cronenberg), des liens se tissent peu à peu entre les pensées et les pratiques des deux compositeurs qui développent des stratégies similaires et originales face aux problèmes que leur posent les œuvres de McLaren (l’indissociabilité de la musique et de l’image) et de Cronenberg (la « transformation de l’esthétique humaine »). D’un binôme à l’autre, le cinéma se transforme en un laboratoire musico-filmique où chacun élabore une « méthode dangereuse » qui force l’analyste à explorer de nouvelles avenues méthodologiques.
Norman McLaren’s (1914-1987) animation work evokes a primarily dream-like world. David Cronenberg (1943-), also sometimes known as the “Baron of Blood,” makes fiction films that belong to a singular genre he developed: the “inner horror.” So what can these two filmmakers possibly have in common? They both built a long-term relationship with composers: Maurice Blackburn (1914-1988) for the former and Howard Shore (1946-) for the latter. Though the distinct approaches of these two directors have been widely studied, the weight of the contributions of their respective composers remains largely unmeasured. And this, despite the fact that music seems to play a primary role in these two directors’ process since, in each instance, the composer is involved very early on. This unusually early involvement of the composer, and the ongoing collaboration it entails, are indicative of the central place and role held by Blackburn and Shore’s music in McLaren’s work on the one hand, and Cronenberg’s on the other. This considered, their scores must no longer be seen as direct sound illustration of the films, but rather as essential components of the films, even though such a stance forces us to rethink how we define the role of music in film. Furthermore, from film to film, music and cinema become so intertwined that a singular style of musicalization of the image develops, begging the question: what are the characteristics of this style? From one collaboration to the other, this thesis seeks to establish a poietic of film-music creation; it looks to describe the cinematic and musical creative processes that determine the composition of film music and, beyond that, the musicality of the entire audio-visual complex. Through portraits that investigate the practice and discourse of creators and through the analysis of four soundtracks (A Phantasy by Norman McLaren, Day After Day by Clément Perron, Crash and A Dangerous Method by David Cronenberg), the thoughts and practices of the two composers, who develop similar innovative strategies to solve the problems posed by the works of McLaren (the inseparability of music and image) and Cronenberg (the “transformation of human aesthetics”), are gradually connected. From one duo to another, cinema becomes a musical and cinematic laboratory where each develops a “dangerous method” which forces the analyst to explore new methodological avenues.
Books on the topic "Musical short films"
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Kobal, John. Gotta sing, gotta dance: A history of movie musicals. London: Spring Books, 1988.
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1957-, MacGillivray Scott, and Okuda Ted 1953-, eds. The Soundies Distributing Corporation of America: A history and filmography of their "jukebox" musical films of the 1940s. Jefferson, N.C: McFarland & Co., 1991.
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Lamar, Kendrick. Good kid, M.A.A.D. city: A short film. Santa Monica, CA: Interscope Records, 2013.
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Kalinak, Kathryn Marie. Film music: A very short introduction. New York: Oxford University Press, 2010.
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Kalinak, Kathryn Marie. Film music: A very short introduction. New York: Oxford University Press, 2010.
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Stevens, E. Charlotte. Fanvids. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865.
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Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?
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Okuda, Ted, and Scott MacGillivray. The Soundies Book: A Revised and Expanded Guide. iUniverse, Inc., 2007.
Find full textBook chapters on the topic "Musical short films"
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Katz, Mark. "3. Time." In Music and Technology: A Very Short Introduction, 31–49. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/actrade/9780199946983.003.0003.
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Abstract Music is a time machine. More specifically, it is as a tool for taming time. Our fascination with time has led us to develop tools for marking and tracking it, from sundials and calendars to wristwatches and atomic clocks. Music, however, may be the tool that comes closest to controlling time, that is, our experience of it. This chapter explores how technologies of musical creation, preservation, and dissemination engage with the dimension of time, and thus shape how we experience and create music. Technologies explored include notation, the metronome, the click track, quantization, sound recording, and looping. Musical examples draw from Disney films, minimalism, Chopped and Screwed, Drum and Bass, and the music of Daphne Oram, The Beatles, and KT Tunstall.
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Baumgartner, Michael. "Leitmotif Technique Revisited." In Metafilm Music in Jean-Luc Godard's Cinema, 66–95. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.003.0003.
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Abstract This chapter investigates film music made up of the same short musical fragment repeated several times throughout a film. As a self-reflexive device, these identical fragments attract the attention of the spectator, for they are identically repeated multiple times, and they often begin and end in the middle of a musical phrase, harshly disrupting the cinematic flow. These succinct musical cues, often mixed unusually loudly into the soundtrack, break with the tradition of classical Hollywood and conventional European mainstream film music and challenge the dramaturgical function of music in cinema altogether. Godard critically questions one of the core concepts of film music: the leitmotif technique. In his early 1960s films, the identical musical fragment correlates the same narrowly defined signified with each repetition. Godard limits the interpretation of the music’s function by having the same musical fragment adhering to one specific visual or aural component. The fragments represent in Vivre sa vie and Pierrot le fou mnemonic signs that are indices—in Charles Sanders Pierce’s sense—for, respectively, love or death. The fact that these themes appear multiple times unchanged in the course of the same film and that they explicitly correlate to always the same extra-musical trope signals that Godard not only questions the usefulness of the leitmotif technique but altogether denounces it as a viable approach to film scoring. Since he thinks with the leitmotif technique about the function of film music, the scores in Pierrot le fou and Vivre sa vie can thus be interpreted as metafilm music.
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Riches, John. "10. The Bible in high and popular culture." In The Bible: A Very Short Introduction, 115–29. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198863335.003.0010.
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‘The Bible in high and popular culture’ reflects on how the Bible has had a formative influence on the language, the literature, the art, and the music of all the major European and North American cultures. It continues to influence popular culture in films, novels, and music. From elaborate retellings of the narratives in great novels and in musical representations like Bach’s St Matthew Passion, through Rembrandt’s intimate depictions of biblical scenes and narratives, to echoes of biblical metaphor and motifs in poetry and fiction, there is a huge range of use. Margaret Atwood’s The Handmaid’s Tale (1985) provides a powerful contemporary example. It comments directly on the Bible’s role in the struggle of women.
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"Musical and Verbal Counterpoint in Thirty Two Short Films About Glenn Gould." In Word and Music Studies, 181–96. BRILL, 2005. http://dx.doi.org/10.1163/9789004501416_011.
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Bonds, Mark Evan. "11. “Beethoven”." In Ludwig van Beethoven: A Very Short Introduction, 105–16. Oxford University Press, 2022. http://dx.doi.org/10.1093/actrade/9780190051730.003.0012.
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‘Beethoven’ asks why Beethoven’s contemporaries knew relatively little about him as an individual. It was only after his death that an image of him began to emerge, fuelled by the discovery and publication of the Heiligenstadt Testament, the letter to the Immortal Beloved, and a series of reminiscences and biographies. More and more, the public came to hear Beethoven’s music as a form of sonic autobiography, and critics went to great lengths to associate specific events in his life with specific compositions. Beethoven’s reputation as the most consequential composer in the history of Western music grew exponentially in the century after his death. The many monuments and statues erected in his honour bear witness to a sense of intense national and cultural pride on the part of Germans, who regarded him as the musical counterpart to Goethe. Over time, political parties from the far left to the far right would co-opt Beethoven’s music to serve their various causes. His hold on popular culture continues unabated, having found its way into disco, rap, and popular song, and his life has been the subject of multiple feature-length films.
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Smółka, Maciej. "Rock Musical, Rock Opera i Concept Album: Rock jako gatunek zawieszony między filmem, muzyką a teatrem." In Musical. Spotkania z gatunkami filmowymi. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-445-8.09.
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Since its beginning, rock music has been reaching far beyond the categories of LPs. This form of art was an extraordinary experience full of emotional engagement that manifested its beliefs and rebellious ideas. By telling more complex stories, artists gained the ability to convey their thoughts more fully – that is how concept albums was created. Throughout the years, rock evolved into more sophisticated forms, marking its place in theaters and cinemas – rock opera and rock musical showed the theatrical potential of the genre, as well as its capability of telling elaborate narratives. By this work, author wants to depict a short history of rock evolution leading to the moment of rock musical and rock opera creation by showing the main reasons of its grand success, and its most characteristic features. The leading assumption of this article is not to present merely chronology, but also to explain the relations between the LPs, theater plays, films, music concerts, and the phenomena of the rock genre in the context of its usage as a base of various cultural texts.
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Laera, Alejandra. "Other Areas: The Bio-communal and Feminine Utopia of Cornucopia." In ReFocus: The Films of Lucrecia Martel, 100–109. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474485227.003.0008.
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This chapter presents the artistic collaboration of Lucrecia Martel with the multidisciplinary Icelandic singer Björk in the musical and visual show Cornucopia (2019), by analysing the different stages of its production and contextualising the live performance at the New York scenario. It explores the relation of this retro-futurist utopia, full of sensuous shapes and sounds and a highly sensory staging, with notions such as bio-community, feminine eco-affectivity, and artistic activism. Also, it shows that Martel gives to the show, in tune with her broader conception of the image, a dense look at the body and the slow rhythms of perception that question the ways of seeing and perceiving in the present day. In addition, the chapter discusses this kind of universal utopia in contrast with the politicity of New Argirópolis, Martel’s short film about indigenous Argentinean communities, in which utopian fiction points to transforming social inequality and exclusion.
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Amante, Adriana, and Natalia Brizuela. "Martel Variations." In ReFocus: The Films of Lucrecia Martel, 139–60. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474485227.003.0011.
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Focusing on some early and short productions by Lucrecia Martel, the article will analyze the essayistic dimension of his cinema: cinema as an act of thinking, which is, in her case, to think of cinema as writing. The documentary as a writing (or perhaps a score, but always –above all– a notation) that articulates image and sound as a fully verbivocovisual composition. The essayistic dimension, as a slow mode of scrutiny of an idea, materializes in certain critical objects, as happens in research essays: fish, water, dogs, children, Silvina Ocampo, a pond, a pool, Encarnación Ezcurra or some texts (Zama, Argirópolis). The documentary is thought not as a record of the real, but as a notation of a process of elaboration of the real. There is, endeed, a syntax in her cinema which involves or realises (i.e., crystallises) her prosody. That syntax defines the (dis)order in which the moods of the situations, rather than the facts, become chained. Martel’s cinema, therefore, as a writing, as a musical notation of variations.
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Decker, Todd. "Days, Hours, Minutes." In Astaire by Numbers, 131—C3.P99. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197643587.003.0004.
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Abstract This part uses studio production files to present a granular portrait of the creation of studio musicals. Drawing mostly on assistant director reports from RKO and MGM, the days, hours, and minutes it took to make musical films are broken down. Astaire’s process of making a musical film is considered comparatively across his output and at the level of the shot (how many takes he required to get a printable take). Quantitative measures reveal Astaire’s standard practices on the set, as well numbers and films that are outliers (whether very efficient or inefficient). Studio methods for monitoring performing bodies in the musical genre, especially dancers, are also considered, with attention to how individual performers, such as Judy Garland and Ginger Rogers, asserted minimal control over the production process. The day-to-day work of filmmaking is shown in detail.
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Kornhaber, Donna. "4. Watching films in the silent era." In Silent Film: A Very Short Introduction, 88–106. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780190852528.003.0005.
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“Watching films in the silent era” explains how viewing habits changed with distribution patterns and the growth of nickelodeons and movie palaces. Social stratification affected access to both cinemas and films. Those who lived far from city centers or who were prevented from visiting luxury venues by poverty or segregation saw older films at cheaper prices. Studios tried to manage the exigencies of filmmaking by selling motion pictures in batches, while theater owners had to choose among thousands of available options in picking the films they would exhibit. Live sound effects, narration, and even dialogue were surprisingly common elements of silent film exhibition worldwide, and silent film music was a thriving industry, with organists or groups of musicians working from books of standard music rather than film-specific scores.
Conference papers on the topic "Musical short films"
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Martelli, Alessandro, Giordano-Bruno Arato, and Enrico Bellani. "Advanced Tested Technology for Earthquakes and the Shapes of Memory: A Short Film and a Motion-Picture Developed in the Framework of the MUSICA Project." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1435.
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This paper provides updated information, with respect to that already given at the 2001 ASME-PVP Conference, on the Project MUSICA (Multimedia for the Development of Innovative Systems for Anti-Seismic Constructions). This project was jointly undertaken by the Italian Agency for New Technology, Energy and the Environment (ENEA) and other partners associated in the Italian Working Group on Seismic Isolation (GLIS) in May 2000, to contribute to information and training on the modern passive control techniques of seismic vibrations through a better, modern use of media. It consists in the development of a series of films of various durations on manufacturing, R&D and applications of the aforesaid techniques, namely seismic isolation, passive energy dissipation, hydraulic coupling by means of shock transmitters, systems formed by shape memory alloy devices, “active sewing” method for masonry buildings, etc. Films are addressed to designers, representatives of the Institutions and the ordinary public, as well. Most of them have already been completed. The short film “Advanced Tested Technology for Earthquakes” (that developed for ENEA within the MUSICA Project) will be shown at the Symposium, together with (if possible) the motion-picture “The Shapes of Memory”.