Musical Form in Non-Narrative Video
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Great Expectations on Screen
UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Violeta Martínez-Alcañiz Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Tesis presentada por Violeta Martínez-Alcañiz Licenciada en Periodismo y en Comunicación Audiovisual para la obtención del grado de Doctor Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair” (Charles Dickens, A Tale of Two Cities) “Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?” (Sergei Eisenstein, “A dialectic approach to film form”) “An honest adaptation is a betrayal” (Carlo Rim) Table of contents ACKNOWLEDGMENTS 13 CHAPTER 1. INTRODUCTION 15 CHAPTER 2. LITERATURE REVIEW 21 Early expressions: between hostility and passion 22 Towards a theory on film adaptation 24 Story and discourse: semiotics and structuralism 25 New perspectives 30 CHAPTER 3. -
BIS-1280 Booklet X.Pdf-3D4912.Pdf
BIS-CD-1280 STEREO D D D Total playing time: 78'20 BRAGA, Antônio Francisco (1868-1945) 1 Cauchemar (1895) (OSESP Editora) World Première Recording 7'06 Musicological revision by Rubens Ricciardi Jupyra (1899) (OSESP Editora) World Première Recording 70'26 Opera in one act. Libretto: Luiz Gastão de Escragnolle Doria (Italian text: A. Menotti-Buja) Musicological revision by Rubens Ricciardi from the autograph kept at the Universidade Federal do Rio de Janeiro 2 Coro interno Varia l’amor come la luna varia… 1'17 3 Preludio 5'20 Atto unico 63'37 4 Scena I JUPYRA: Migrante, morente, risale pallente… 3'59 5 Scena II QUIRINO: Io t’ho seguita!… 9'31 6 Scena III CARLITO: Sciagurato!… 0'56 7 Scena IV CARLITO: Perchè sei qui?… 11'43 8 Scena V CARLITO: L’uccel di paradiso… 13'54 9 Scena VI JUPYRA: Vendetta!… 2'14 10 Scena VII QUIRINO: Allontanar lo vidi e a te ritorno io fò… 4'51 11 Scena VIII CARLITO: Amor, sei desta? Affacciati!… 4'51 12 Scena IX JUPYRA: Tua nemica son io!… 8'24 13 Scena X QUIRINO: Vendicata tu sei!… 3'14 Eliane Coelho, soprano (Jupyra); Rosana Lamosa, soprano (Rosalia); Mario Carrara, tenor (Carlito); Phillip Joll, baritone (Quirino); Coro da Orquestra de São Paulo; choral direction: Naomi Munakata Orquestra de São Paulo (leader: Cláudio Cruz) conducted by John Neschling Francisco Braga and his opera Jupyra and principal conductor. By that time he had already Antônio Francisco Braga was born in Rio de Janeiro on composed all his major scores. 15th April 1868. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
TRF-4 Condena Lula Pela 2A
126 anos - PaTRIMÔnIo Da PaRaÍBa Ano CXXVI NúmeroA 254 UNIÃOJoão Pessoa, Paraíba - QUInTa-FEIRa, 28 de novembro de 2019 – R$ 1,50 - Assinatura anual R$ 200,00 Governo realiza sorteio de apartamentos em JP São 256 unidades construídas na capital a partir de um investimento superior a R$ 23 milhões e que vão beneficiar 1.024 paraibanos. Página 3 Foto: Evandro Pereira Foto: Secom-PB Últimas Treinamento testa resposta a acidentes em Cabedelo Área do porto, por onde passam inúmeros produtos inflamáveis, foi palco ontem de um exercício simulado das forças de resgate do Estado. Página 4 Foto: Evandro Pereira Paraíba Foto: Léo Caldas / Folhapress Entidades advertem consumidores sobre a Black Friday Violência contra a mulher é Órgãos de defesa do consumidor autuam lojas que cometeram debatida em maternidade irregularidades e mandam a Evento na Maternidade Frei Damião teve objetivo população ter cautela. Páginas 4 e 8 de treinar a equipe para o Programa de Assistência às Mulheres Vítimas de Violência Sexual. Página 6 Foto: Divulgação TRF-4 condena Lula pela 2a vez Tribunal Regional Federal da 4ª Região ignora decisão anterior do STF que anulou processo parecido e não só manteve a condenação como aumentou a pena que tinha sido imposta pela primeira instância. Página 14 Foto: Sejel Ouro e recorde Daniel Azevedo é o mais veloz no nado costas dos Jogos Escolares em Blumenau. Página 23 Balé de luto José Enoch morre aos 88 anos e abala o meio artístico paraibano. Páginas 4 e 12 facebook.com/uniaogovpb www.paraiba.pb.gov.br auniao.pb.gov.br Twitter > @uniaogovpb Opinião Edição: José Napoleão Ângelo Editoração: Ulisses Demétrio 2 AUNIÃO João Pessoa, Paraíba - QUINTA-FEIRA, 28 de novembro de 2019 CONTATOS: [email protected] REDAÇÃO: (83) 3218-6539/3218-6509 Editorial Em dia Manter em dia os compromis- Ressalte-se que há muito tempo sos com os servidores públicos, no as famílias dos servidores públicos que diz respeito ao pagamento de estaduais dormem tranquilas, prin- salários, é uma das regras de ouro cipalmente quando se aproxima o do governo estadual. -
Persistence of Vision: the Value of Invention in Independent Art Animation
Virginia Commonwealth University VCU Scholars Compass Kinetic Imaging Publications and Presentations Dept. of Kinetic Imaging 2006 Persistence of Vision: The alueV of Invention in Independent Art Animation Pamela Turner Virginia Commonwealth University, [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/kine_pubs Part of the Film and Media Studies Commons, Fine Arts Commons, and the Interdisciplinary Arts and Media Commons Copyright © The Author. Originally presented at Connectivity, The 10th ieB nnial Symposium on Arts and Technology at Connecticut College, March 31, 2006. Downloaded from http://scholarscompass.vcu.edu/kine_pubs/3 This Presentation is brought to you for free and open access by the Dept. of Kinetic Imaging at VCU Scholars Compass. It has been accepted for inclusion in Kinetic Imaging Publications and Presentations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Pamela Turner 2220 Newman Road, Richmond VA 23231 Virginia Commonwealth University – School of the Arts 804-222-1699 (home), 804-828-3757 (office) 804-828-1550 (fax) [email protected], www.people.vcu.edu/~ptturner/website Persistence of Vision: The Value of Invention in Independent Art Animation In the practice of art being postmodern has many advantages, the primary one being that the whole gamut of previous art and experience is available as influence and inspiration in a non-linear whole. Music and image can be formed through determined methods introduced and delightfully disseminated by John Cage. Medieval chants can weave their way through hip-hopped top hits or into sound compositions reverberating in an art gallery. -
Live Performance Where Congruent Musical, Visual, and Proprioceptive Stimuli Fuse to Form a Combined Aesthetic Narrative
Soma: live performance where congruent musical, visual, and proprioceptive stimuli fuse to form a combined aesthetic narrative Ilias Bergstrom UCL A thesis submitted for the degree of Doctor of Philosophy 2010 1 I, Ilias Bergstrom, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract Artists and scientists have long had an interest in the relationship between music and visual art. Today, many occupy themselves with correlated animation and music, called ‗visual music‘. Established tools and paradigms for performing live visual music however, have several limitations: Virtually no user interface exists, with an expressivity comparable to live musical performance. Mappings between music and visuals are typically reduced to the music‘s beat and amplitude being statically associated to the visuals, disallowing close audiovisual congruence, tension and release, and suspended expectation in narratives. Collaborative performance, common in other live art, is mostly absent due to technical limitations. Preparing or improvising performances is complicated, often requiring software development. This thesis addresses these, through a transdisciplinary integration of findings from several research areas, detailing the resulting ideas, and their implementation in a novel system: Musical instruments are used as the primary control data source, accurately encoding all musical gestures of each performer. The advanced embodied knowledge musicians have of their instruments, allows increased expressivity, the full control data bandwidth allows high mapping complexity, while musicians‘ collaborative performance familiarity may translate to visual music performance. The conduct of Mutable Mapping, gradually creating, destroying and altering mappings, may allow for a narrative in mapping during performance. -
Idmaa BB Catalog Optimized.Pdf
Dena Elisabeth Eber / Bowling Green University iDEAs 07: Beyond Boundaries, which coincides with the International Digi- Randall E. Hoyt / University of Connecticut tal Media and Arts Association conference, addresses the notion that the Rejane Spitz / Rio de Janeiro Catholic University, Brazil nature of digital arts is to embrace the new technologies of the time while Kenneth A. Huff / Savannah College of Art and Design perfecting those of the past. As such, it tends to sit outside the margin of discipline, thus deifying boundaries within its own set of standards. This art form is complex and multifaceted, however, it embraces two distinct aspects that are currently, and will continue to be, characterized by flux and defined by the rate of change of technology. The first exists on the fringe of the art world, embracing, exploring, incorporating, and translating the new- est digital media for the given time. The second is the molding of yesterday’s digital “edge” into traditional art forms or into mature and unique works that often do not fit within traditional aesthetics. Regardless of whether the art includes older or newer technologies, digital media art sits outside of tradition. It is a lightning rod for new media and acts as a disseminator of language and implications connected with it. Although traditional boundaries do not apply, grounding in artistic practice does, albeit in flux. The iDEAs 07 exhibition not only displays art that goes beyond bound- aries, but shows work that does not even consider them as the art reflects a discipline that seeks to find its own foundation. -
CHAPTER 4. Film Sound Presentation: Space and Institutional Context
CHAPTER 4. Film Sound Presentation: Space and Institutional Context 4.1 Film Sound Presentation In the previous chapter I examined the preservation of early sound systems, namely the Biophon, Chronophone, Phono-Cinéma-Théâtre, and Vitaphone systems. In the analysis of preservation practices, I highlighted the importance of relevant elements of film sound: the material carriers, the technological devices and human actors, the dispositif situation, the film text, the screening performance, and the history of exhibition. These elements of preservation practices contribute to understanding and defining what film sound is and how it relates to film image. The analysis of the preservation of these early sound systems further demonstrated how preservation and presentation are two highly interconnected activities. As the shown by the example of the Tonbidler, the choice of a certain carrier in the preservation process is often incited by the context of presentation. As I will now argue in this chapter, decisions about the presentation of film sound similarly depend on decisions made during preservation. Preservation and presentation practices, intended as the core activities of film heritage institutions, point to a number of factors important in defining film sound and its core dimensions. The preservation practices examined in the cases of early sound systems highlighted in particular the three dimensions of film that I defined as carrier, dispositif, and text. The presentation practices that will be analyzed in this chapter will bring attention to other dimensions of film sound, namely the spatial and institutional dimensions, which are less evident in preservation practices. Film presentation concerns the screening situation, where the dispositif and the audience are central. -
Iconoclasm in Visual Music
EMMANOUIL KANELLOS Iconoclasm in Visual Music Abstract From the earliest experimental film works to today’s contemporary and diverse use of moving image platforms, the notion of visual music is considered synonymous with abstract animation, because in part, abstract imagery is employed across the vast majority of musical visualisation. The purpose of this paper is to explore how the absence of figuration and representation in visual music can now reengage with the problematic debate of representation versus abstraction - a debate that has taken place in other art forms and movements in the past. Introduction Visual music is a type of audio-visual art, which employs the use of moving abstract images that are synchronised with music/sound. This approach to moving image works started prior to Modernism. However, it was during this period that it developed significantly and continues to expand the field in a variety of expressive ways in our current digital era. Although the subject area of this paper is visual music it will start with an outline of several known abstraction-representation dialectics in art and more specifically, the rejection of representation caused by different ideologies, political dogmas, and spiritual beliefs. In doing so, it will demonstrate the lack of representation in the creation of artworks throughout history and focus on the past and current situation in visual music. The abstraction-representation debate in visual arts is deep-rooted and has triggered some of the greatest conflicts in the history of art. Such examples include: two iconoclasms in Byzantine Empire in the eighth and ninth centuries; the label ‘Degenerate Art’ to describe Modern art during the Nazi regime; and the violent reactions in Syria, Jordan, Lebanon and Pakistan in 2006 over the cartoons that depict Muhammad. -
Andrei Kravchuk's the Italian
CHAPTER 34 SUFFER THE CHILDREN: ANDREI KRAVCHUK’S THE ITALIAN Most of the best films about children are about boys: Shoeshine (1946), Germany, Year Zero (1947), and Bicycle Thieves (1948), for instance. Moreover, most of the best films about children were made by Italian neorealists, as well as by directors following their socially as well as politically realistic example, from Luis Buñuel with Los Olvidados (1951) and René Clément with Forbidden Games (1952), to Hector Babenco’s Pixote (1981), Mira Nair’s Salaam Bombay! (1988), Gianni Amelio’s Stolen Children (1992), Samira Makhmalbaf’s The Apple (1998), and Bertrand Tavernier’s It All Started Here (1999). Now we can add a Russian to this list of Latin Americans, Frenchmen, Italians, Indians, and Iranians, makers all of “children’s films.” His name is Andrei Kravchuk, and his film is called The Italian (2005), in seeming homage to neorealism’s country of origin. (Kravchuk was preceded in this style and genre by at least one fellow Russian, Vitaly Kanevski, with his 1989 film Freeze. Die. Come to Life.) Figure 93. Andrei Kravchuk: The Italian, 2005 (Russia) 313 Chapter 34 One of the questions that attends The Italian and the rest of the above-named films is less why they are about children (that’s easy: often one can see a war- torn, religiously-divided, or economically-distressed society more clearly, more freshly, through the eyes of its youngest members) than how those children gave the performances they did. For, however lovely among film’s powers its relationship to children may be (not children in the audience but those on screen), that relationship is also quizzical. -
The Expanded Image: on the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann
The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann Sandra Naumann, The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century, in: Dieter Daniels, Sandra Naumann (eds.), Audiovisuology, A Reader, Vol. 1: Compendium, Vol. 2: Essays, Verlag Walther König, Köln 2015, pp. 504-533. 505 Exposition Until well into the nineteenth century, the experience of audiovisual arts was bound to a unity of space and time (and action, too, in a certain sense). The technical media of photography, gramophone recording, silent film, talking film, and video made it possible to reproduce sounds and images, but they also separated them only to slowly reunite them again. These media evolved from devices used purely for storage and reproduction into performative instru- ments for creating new forms of audiovisual experience in real time, a process reinforced through numerous efforts to synthesize or expand the arts by incor- porating or transferring concepts and techniques from different art forms. Thus, musical theories and techniques were adopted to explain developments in the visual arts, and vice versa. Against this general background, this essay aims to identify strategies which the visual arts borrowed from music while changing and expanding compul- sively during the twentieth century. The focus will not be on image/sound com- binations, although sound does often play a part in the works that will be dis- cussed in the following. Instead, this text will deal with the musicalization of the image in a broader sense. These endeavors first culminated in the 1910s and 1920s, then again in the 1960s and 1970s, and for the third time from the 1990s until today. -
In Search of a Concrete Music
In Search of a Concrete Music The publisher gratefully acknowledges the generous support of the Ahmanson Foundation Humanities Endowment Fund of the University of California Press Foundation. ni niVtirp im -tutt) n n )»h yViyn n »i »t m n j w TTtt-i 1111 I'n-m i i i lurfii'ii; i1 In Search of a Concrete Music CALIFORNIA STUDIES IN 20TH-CENTURY MUSIC Richard Taruskin, General Editor 1. Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater, by W. Anthony Sheppard 2. Russian Opera and the Symbolist Movement, by Simon Morrison 3. German Modernism: Music and the Arts, by Walter Frisch 4. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification, by Amy Beal 5. Bartok, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality, by David E. Schneider 6. Classic Chic: Music, Fashion, and Modernism, by Mary E. Davis 7. Music Divided: Bartok's Legacy in Cold War Culture, by Danielle Fosler-Lussier 8. Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Art Music, by Klara Moricz 9. Brecht at the Opera, by Joy H. Calico 10. Beautiful Monsters: Imagining the Classic in Musical Media, by Michael Long xi. Experimentalism Otherwise: The New York Avant-Garde and Its Limits, by Benjamin Piekut 12. Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981, by Eric Drott 13. Music and Politics in San Francisco: From the 1906 Quake to the Second World War, by Leta E. Miller 14.