TY  - CONF
  - Kulezic-Wilson, D.
  - Music and the Moving Image
  - The New Transcendental Cinema and its Music
  - New York
  - Oral Presentation
  - 2011
  - ()
  - 20-MAY-11
  - 22-MAY-11
  - Many seminal artistic movements from the last century ¿ the birth of abstract art, absurdist theatre, musique concrète, the move from linear temporality in music towards either ¿open form¿ or the ¿vertical temporality¿ of minimalism ¿ were driven by the idea that the truths worth exploring in art lie beyond language, beyond figurative art, beyond ¿organized sound¿ and dialectical form, beyond the scientifically explicable and mimetically representable. However elusive, the categories of unknowable, invisible and ineffable have also been explored in narrative cinema through the concepts of photogénie, deep focus, the camera¿s gaze and a heightened sense of temporality, ¿robbing the conventional interpretations of reality of their relevance and power¿ and turning film into a ¿ritual which can be repeatedly transcended¿ (Schrader, 1972). The aforementioned concepts, though, suggest that the search for a transcendental quality in film has mostly been considered in visual terms, as is usually the case. However,given the significance of sound design in recent examples of this practice, and the emphasis on musical rather than expressive qualities of sound in prolonged shots of protagonists¿ surroundings, their quotidian activities and repeated movements in the films of Béla Tarr, Nuri Bilge Ceylan, Apichatpong Weerasethakul and Gus Van Sant¿s Death Trilogy, I will argue that the soundscapes of the ¿new transcendental cinema¿ not only share similar aesthetic and spiritual concerns with the work of Cage and Schaeffer, but also have the power to transform our understanding of musicality in a cinematic context in the same way that the idea of noise as music and musique concrète changed the way we think about music. 
DA  - 2011/NaN
ER  - 

@unpublished{V84947098,
   = {Kulezic-Wilson,  D. },
   = {Music and the Moving Image},
   = {{The New Transcendental Cinema and its Music}},
   = {New York},
   = {Oral Presentation},
   = {2011},
   = {()},
  month = {May},
   = {22-MAY-11},
   = {{Many seminal artistic movements from the last century ¿ the birth of abstract art, absurdist theatre, musique concrète, the move from linear temporality in music towards either ¿open form¿ or the ¿vertical temporality¿ of minimalism ¿ were driven by the idea that the truths worth exploring in art lie beyond language, beyond figurative art, beyond ¿organized sound¿ and dialectical form, beyond the scientifically explicable and mimetically representable. However elusive, the categories of unknowable, invisible and ineffable have also been explored in narrative cinema through the concepts of photogénie, deep focus, the camera¿s gaze and a heightened sense of temporality, ¿robbing the conventional interpretations of reality of their relevance and power¿ and turning film into a ¿ritual which can be repeatedly transcended¿ (Schrader, 1972). The aforementioned concepts, though, suggest that the search for a transcendental quality in film has mostly been considered in visual terms, as is usually the case. However,given the significance of sound design in recent examples of this practice, and the emphasis on musical rather than expressive qualities of sound in prolonged shots of protagonists¿ surroundings, their quotidian activities and repeated movements in the films of Béla Tarr, Nuri Bilge Ceylan, Apichatpong Weerasethakul and Gus Van Sant¿s Death Trilogy, I will argue that the soundscapes of the ¿new transcendental cinema¿ not only share similar aesthetic and spiritual concerns with the work of Cage and Schaeffer, but also have the power to transform our understanding of musicality in a cinematic context in the same way that the idea of noise as music and musique concrète changed the way we think about music. }},
  source = {IRIS}
}