TY  - CONF
  - Kulezic-Wilson, D.
  - Music and the Moving Image
  - Gus Van Sant and Audio-visual Musique Concrète
  - NYU Steinhardt
  - Oral Presentation
  - 2009
  - ()
  - 29-MAY-09
  - 31-MAY-09
  - A proclivity for long, contemplative shots has often been associated with a particular philosophical view and the spiritual inclinations of filmmakers who believe that by allowing the 'pressure of time' to fill the shot, one can discover 'something significant, truthful going on beyond the events on the screen' (Andrei Tarkovsky). In the work of European and Asian directors such as Ozu, Bresson, Tarkovsky and Dryer, this contemplative quality is usually associated with long, static shots and epitomised in a style that Paul Schrader calls 'transcendental'.Gus Van Sant's last four films - Gerry (2002), Elephant (2003), Last Days (2004) and Paranoid Park (2007) - seem like a more kinetic and 'secular' version of transcendental style that could be called existential. The long steadicam and tracking shots in these films not only offer a 'prolonged gaze' into a space discovered through movement but also reveal to us the musique concrète of that space which opens itself to the characters in their continuous movement. Combined with Westerkamp's soundscape compositions, Frances White's pieces of musique concrète and the diegetic presentation of 'ready-made musical objects' ranging from Beethoven sonatas to Velvet Underground songs, this approach makes Gus Van Sant's last four films a striking example of an oeuvre strongly inspired by music and, occasionally, the very embodiment of audio-visual musique concrète.  
DA  - 2009/NaN
ER  - 

@unpublished{V60789613,
   = {Kulezic-Wilson,  D. },
   = {Music and the Moving Image},
   = {{Gus Van Sant and Audio-visual Musique Concrète}},
   = {NYU Steinhardt},
   = {Oral Presentation},
   = {2009},
   = {()},
  month = {May},
   = {31-MAY-09},
   = {{A proclivity for long, contemplative shots has often been associated with a particular philosophical view and the spiritual inclinations of filmmakers who believe that by allowing the 'pressure of time' to fill the shot, one can discover 'something significant, truthful going on beyond the events on the screen' (Andrei Tarkovsky). In the work of European and Asian directors such as Ozu, Bresson, Tarkovsky and Dryer, this contemplative quality is usually associated with long, static shots and epitomised in a style that Paul Schrader calls 'transcendental'.Gus Van Sant's last four films - Gerry (2002), Elephant (2003), Last Days (2004) and Paranoid Park (2007) - seem like a more kinetic and 'secular' version of transcendental style that could be called existential. The long steadicam and tracking shots in these films not only offer a 'prolonged gaze' into a space discovered through movement but also reveal to us the musique concrète of that space which opens itself to the characters in their continuous movement. Combined with Westerkamp's soundscape compositions, Frances White's pieces of musique concrète and the diegetic presentation of 'ready-made musical objects' ranging from Beethoven sonatas to Velvet Underground songs, this approach makes Gus Van Sant's last four films a striking example of an oeuvre strongly inspired by music and, occasionally, the very embodiment of audio-visual musique concrète.  }},
  source = {IRIS}
}