scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Introduction

2017 ◽  
Author(s):  
Holly Rogers
Keyword(s):  
Experimental Film ◽  
Critical Space ◽  
Moving Image ◽  
Avant Garde

The Introduction situates the subsequent chapters within the wider discourses on music and the moving image, and on experimental film. It identifies several threads that run through the book, most of which concern the identification of a critical space that opens up between previously constructed binaries when audiovisuality is treated experimentally: between music and noise, active and passive consumption, popular and avant-garde practices and audiovisual synchronicity and dissonance. Despite the divergent practices of experimental film’s many histories, these threads enable the identification of persistent and common forms of sonic innovation.

scholarly journals Teaching experimental film: On the practical and analytic treatment of avant-garde cinema

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Volker Pantenburg ◽  
Stefanie Schlüter
Keyword(s):  
Perceptual Experience ◽  
Practical Experience ◽  
Experimental Film ◽  
Film Material ◽  
Moving Image ◽  
Analytic Treatment ◽  
Avant Garde ◽  
Image Movement ◽  
Stan Brakhage

This article highlights the potential of experimental and avant-garde cinema in film educational contexts. In the first part, Stefanie Schlüter evaluates her practical experience in working with 10- to 11-year-old schoolchildren. Based on reflections by Peter Kubelka, Stan Brakhage and others, she emphasizes the act of engaging with film material (scratching, painting) as a genuine haptic and perceptual experience. In the second part, Volker Pantenburg reframes classical avant-garde films by Gary Beidler, Peter Tscherkassky and Morgan Fisher as valuable, implicitly didactic 'lessons of cinema'. In a playful and elaborate way, these films perform and display basic qualities of the moving image: movement and stillness, materiality and narration, format and affect.

Casting

2020 ◽  
pp. 193-210
Author(s):  
Yiyun Kang
Keyword(s):  
Digital Media ◽  
Three Dimensional ◽  
Experimental Film ◽  
Video Installation ◽  
Moving Image ◽  
Projection Mapping ◽  
Moving Images ◽  
Outdoor Spaces ◽  
Augmented Space ◽  
Volumetric Objects

This chapter investigates how projection mapping reconfigures the relationship between projection surface, moving image, and space in the field of artists’ projected moving-image works. Projection mapping is a relatively new method that can be used to transform irregularly shaped objects and indoor/outdoor spaces into display surfaces. This mode of projection envelops three-dimensional surfaces with digital moving images, using complicated projection technologies. In examining this process, the author analyses various contextual reviews as well as her own piece Casting to discover projection mapping’s distinctive properties. Casting (2016) is Kang’s projection-mapping installation at the Victoria and Albert Museum (V&A) in London, which was created as the culmination of Kang’s six-month artist-in-residency program at the V&A, and acquired by the institution in 2017 as its first purchase of a projection-mapping installation piece. This chapter examines how, by integrating volumetric objects and space, projection mapping dismantles the conventional notion of screen and frame that are accepted in experimental film and video installation works. The chapter introduces the concept of augmented space to understand how the spatial employment of projected moving images generates a novel type of narrative and experiences in comparison with the previous projected moving-image artworks. Accordingly, the chapter identifies how projection mapping practices can develop a distinguished type of aura in the realm of digital media art works.

‘Nothing Will Have Taken Place – Except Place ’: The Unsettling Nature of Camera Movement

2020 ◽  
Author(s):  
Tom Gunning
Keyword(s):  
Stephane Mallarme ◽  
Modern Poetry ◽  
Moving Image ◽  
Avant Garde ◽  
Narrative Cinema ◽  
Technological World ◽  
Mobile Frame ◽  
The Way

In 1897, Stèphane Mallarme threaded this phrase through his culminating work of modern poetry ‘Un Coup de Des’. Michael Snow, commenting on his 1967 film Wavelength, another radical work of modernist vision, invoked Mallarme’s phrase and sets us thinking about how the moving image recreates/explores/questions the nature of place. The radical role of the moving image in providing new modes of our experience of space has been neglected or simply presented as a deviant deconstruction of a dominant commercial narrative cinema. Taking seriously the way the moving image provides new tools for our understanding of our place in a technological world, I will discuss moments of camera movement and the mobile frame in cinema practice, both commercial and avant-garde, historical and contemporary.

scholarly journals Fording the stream of changes: The concept of border-zone in the novel by Dubravka Ugresic

2020 ◽  
pp. 364-382
Author(s):  
Nataliya V. Zlydneva
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Transitional Period ◽  
Border Zone ◽  
The Novel ◽  
Stream Of Consciousness ◽  
Art Cinema ◽  
Poetic Structure ◽  
Text Organization ◽  
The Social

The article aims to identify correspondences / parallels between the lit-erary text and the “text” of the historical time. The novel of the modern Croatian writer D. Ugresic “Fording the Stream of Consciousness” is taken as a basis: it is considered against the background of the events of the 1980s in Croatia. As the core of the poetic structure of the work, the concept of border-zone stands out. The latter can be traced at different levels of the text organization: in the composition, the plot, the characters, the narrative structure as a whole. The novel describes vari-ous boundaries (mental, existential, state, linguistic). Their function in the poetics of the novel is based on the principles of postmodernism: this is literature on literature. The social and cultural context in which the novel arose also demonstrates the concept of boundary by which the characteristics of the transitional era can be described. The 1980s in Croatia marked the state of transition in politics, economy as well as culture. The article discusses various types of art, cinema, literature and print media that set the main tone. It is shown that in literature, art, and cinema this was a boom period. Access to new frontiers is described by the concept of border-zone, which manifests itself in various ways of breaking the usual hierarchy in art: intertextuality, combining high and low genres (in fi lms and literature), enhancing the role of marginal (youth press), hybridization of media (pictorial turn). The sense of border-zone existence gave rise to “garbage poetics” as a contra-cultural phenomenon of the time. The novel of D. Ugresic contains all these signs of a transitional period. It also relies on the deeper layers of the liter-ary tradition, revealing correspondences with the Balkan model of the world. In this regard, the article touches upon the issue of the bridge in I. Andric’s prose, as well as the stairs in the story of A. Solan. Destruc-tion as the leading principle of postmodernism, the theme of the death of the novel, that manifested themselves in the piece of D. Ugresic, became a refl ection of the transitional time of Croatia, its culture, marked by the symbolic border of existence.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

STRUKTUR NARASI NOVEL CA BAU KAN, KARYA REMY SYLADO ANALISIS SEMIOTIK

2017 ◽  
Vol 4 (1) ◽  
pp. 70
Author(s):  
Sri Sabakti
Keyword(s):  
Narrative Structure ◽  
Literary Analysis ◽  
The Novel ◽  
Basic Scheme ◽  
Library Research ◽  
The Mean

This research is aimed to expose the narrative structure of the novel Ca Bau Kan by using semiotical theory. The source of the data is the novel Ca Bau kan written by Remy Silado and published by KPG, eight edition, 2004. The data is collected by doing the library research. The teory applied in this research is the emiotical theory, especially the literary analysis of Subur Laksono Wardoyo that the analysis of the text of prose can be applied by using three fases; the analysis of the basic scheme narrative, the analysis of mean signifier, and the analysis of syntagmatics and pragmatics. The result of this research showed that the narrative structure in the novel CBK that (1) the life of Tinung before being a ca bau kan, (2) the life of Tinung as a ca bau kan, and (3) the life of Tinung after not being a ca bau kan anymore. Based on the narrative structure, it was found that “ Love is only one. No measurement is needed” is the mean signifier and able to be clarified by the analysis of syntagmatics-paradigmatics based on the biner oposition of weak x strong.AbstrakPenelitian ini bertujuan mengungkapkan stuktur narasi dalam novel Ca Bau Kan (CBK) dengan menggunakan teori semiotika. Penelitian ini menggunakan sumber data novel CBK karya Remy Silado yang diterbitkan oleh KPG, cetakan kedelapan tahun 2004. Pengumpulan data dilaksanakan dengan teknik kepustakaan. Teori yang digunakan dalam penelitian ini adalah teori semiotika, khususnya analisis sastra menurut Subur Laksono Wardoyo bahwa analisis teks prosa dapat dilakukan melalui tiga tahap, yaitu: analisis skema naratif dasar, analisis signifier utama, dan analisis sintagmatik-paradigmatik. Hasil penelitian menggambarkan bahwa struktur narasi pada novel CBK adalah sebagai berikut: 1) kehidupan Tinung sebelum menjadi ca bau kan, 2) kehidupan Tinung sebagai ca bau kan, dan 3) kehidupan Tinung setelah tidak menjadi ca bau kan. Berdasarkan struktur narasi, maka didapatkan bahwa “Cinta cuma satu, kagak perlu takaran” merupakan penanda utama dan dapat diperjelas melalui analisis sintagmatik-paradigmatik yang didasarkan atas sebuah oposisi biner lemah x kuat.

scholarly journals Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)

2013 ◽  
Vol 47 (2) ◽  
pp. 385-403
Author(s):  
HANNAH DURKIN
Keyword(s):  
Film History ◽  
Cross Cultural ◽  
Experimental Film ◽  
Ballet Dancer ◽  
Emotional Experiences ◽  
Avant Garde ◽  
The Us ◽  
Artistic Vision ◽  
The Individual ◽  
Ballet Dancing

A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritual (which she borrowed from Katherine Dunham's Haitian experiences after spending many years documenting vodou) while allowing a leading black male dancer to display his artistry on-screen. I show that cultures and artistic forms widely dismissed as incompatible are rendered equivocal. Study adopts a stylized and rhythmic technique borrowed from dance in its attempt to establish cinema as “art,” and I foreground Beatty's contribution to the film, arguing that his technically complex movements situate him as joint author of its artistic vision. The essay also explores tensions between the artistic intentions of Deren, who sought to deprivilege the individual performer in favour of the filmic “ritual,” and Beatty, who sought to display his individual skills as a technically accomplished dancer.

“Frank and unconscious humor and narrative structure in Anne Brontë's The Tenant of Wildfell Hall”

2011 ◽  
Vol 24 (3) ◽  
Author(s):  
Lorene M. Birden
Keyword(s):  
Narrative Structure ◽  
The Novel

AbstractThis study presents two aspects of the novel in question, its humor and its structure. It shows that both have been misunderstood and misinterpreted, and begins by reminding us that the author herself was long misunderstood because of early critical misreadings and presuppositions. It then continues to demonstrate that the two aspects studied are in fact interrelated; the so-called flawed structure, actually a framing structure, is in fact a firm form that is carefully underpinned by the instances of humor. It proceeds by presenting and dispelling the basic myths about the author and the novel, then presents the structure and the reasons for misconceptions of it before proceeding to map the humor using Attardo's system of humor rhythm mapping. Chlopicki's character frames also contribute to a demonstration of parallel characterization which contradicts another, minor myth, that of the unsuitability of the hero for the heroine. The study as a whole attacks the ideas of humorlessness in Brontë fiction, the inferiority of Anne's work and the feebleness of the structure of The Tenant of Wildfell Hall.

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