TY  - GEN
  - Kulezic-Wilson, D.
  - 2012 May
  - Music, Sound, and Filmmakers: Sonic Style in Cinema
  - Gus Van Sant's Soundwalks and Audio-visual Musique Concrète
  - Routledge
  - New York
  - Published
  - 1
  - Questions of identity, alienation and teenage angst have been the dominant themes in Gus Van Sant¿s films for two decades but have appeared in various disguises, including the inaugural features of the New Queer Cinema, small independent films, bending-towards-mainstream Oscar winners and the formally rigorous Death Trilogy. Not surprisingly, these inconsistencies of style and quality are mirrored in the similarly diverse and variably successful approaches to scoring in his films. The exception is the Death Trilogy in which Van Sant¿s exploration of cinematic temporality, the photogénie of cinematic movement and his coinciding interest in musique concrète and electroacoustic soundscapes have resulted in elaborate sound designs and distinctive examples of cinematically created, audio-visual musique concrète.            In films such as Gerry, Elephant and Last Days, the principles of musique concrète ¿ the exploration of natural sounds as primary compositional resources and interaction with one¿s surroundings ¿ are not only apparent as the guiding ideas of the films¿ sound designs but are reflected, implicitly or explicitly, in their narrative themes, Van Sant¿s approach to form and the sculpting of film¿s temporality. And in the same way that musique concrète is concerned with the expansion of the sonic palette and with increasing our awareness of what can be accepted and perceived as music, so does the Death Trilogy extend our perception of cinematic present tense and invites us to experience its audio-visual diegetic content as music. Combined with Westerkamp¿s soundscape compositions, Frances White¿s pieces of musique concrète and diegetic performances of pre-existing music ranging from Beethoven sonatas to Velvet Underground songs, Gus Van Sant¿s approach to form in his Death Trilogy produces a cinematic experience of a distinctly musical kind.
  - 76
  - 88
DA  - 2012 May/NaN
ER  - 

@misc{V109303969,
   = {Kulezic-Wilson,  D. },
   = {2012 May},
   = {Music, Sound, and Filmmakers: Sonic Style in Cinema},
   = {Gus Van Sant's Soundwalks and Audio-visual Musique Concrète},
   = {{Routledge}},
   = {New York},
   = {Published},
   = {1},
   = {{Questions of identity, alienation and teenage angst have been the dominant themes in Gus Van Sant¿s films for two decades but have appeared in various disguises, including the inaugural features of the New Queer Cinema, small independent films, bending-towards-mainstream Oscar winners and the formally rigorous Death Trilogy. Not surprisingly, these inconsistencies of style and quality are mirrored in the similarly diverse and variably successful approaches to scoring in his films. The exception is the Death Trilogy in which Van Sant¿s exploration of cinematic temporality, the photogénie of cinematic movement and his coinciding interest in musique concrète and electroacoustic soundscapes have resulted in elaborate sound designs and distinctive examples of cinematically created, audio-visual musique concrète.            In films such as Gerry, Elephant and Last Days, the principles of musique concrète ¿ the exploration of natural sounds as primary compositional resources and interaction with one¿s surroundings ¿ are not only apparent as the guiding ideas of the films¿ sound designs but are reflected, implicitly or explicitly, in their narrative themes, Van Sant¿s approach to form and the sculpting of film¿s temporality. And in the same way that musique concrète is concerned with the expansion of the sonic palette and with increasing our awareness of what can be accepted and perceived as music, so does the Death Trilogy extend our perception of cinematic present tense and invites us to experience its audio-visual diegetic content as music. Combined with Westerkamp¿s soundscape compositions, Frances White¿s pieces of musique concrète and diegetic performances of pre-existing music ranging from Beethoven sonatas to Velvet Underground songs, Gus Van Sant¿s approach to form in his Death Trilogy produces a cinematic experience of a distinctly musical kind.}},
  pages = {76--88},
  source = {IRIS}
}