Artículos
URI permanente para esta colección
Examinar
Envíos recientes
Ítem Narratività, ritmo e forma audiovisivi in Regen di Joris Ivens con musica di Hanns Eisler.(2013) Alunno, Marco; Alunno, Marco; Universidad EAFIT. Departamento Música; Estudios MusicalesJoris Ivens’ experimental film Regen and the music Hanns Eisler composed for it represent individually two major achievements in the artistic career of both the Dutch director and the German composer. Their union yielded a peculiar audiovisual product for at least two main reasons: on the one hand the music was composed more than ten years later, on the other hand, a result of a research project, Eisler’s composition responded to specific theoretical intentions that ‘commercial’ film music does not generally have. It is mostly because of the latter aspect that we can look at ‘Eisler’s Regen’ with a unique analytic perspective aimed to highlight traces of continuity in both the video and the music under three complementary viewpoints: narrative, rhythmic and formal. The outcome of such an analysis is meant to give proof of a highly integrated audiovisual creation that is rarely found in the history of experimental cinema.Ítem Iconography and Gesamtkunstwerk in Parsifal's two cinematic settings(Publishing House LLC "Mediamusic", 2013-01-01) Alunno, Marco; Universidad EAFIT. Departamento Música; Marco Alunno (malunno@eafit.edu.co); Estudios MusicalesThe concept of Gesamtkunstwerk (as expressed and realized in both, Wagner’s theoretical writings and music-dramas) has informed the aesthetics of cinema and filmic language since the early beginning of the last century -- However, over the past one hundred years, Wagner’s theories have undergone significant mutations that in some cases contradicted the original model -- Filmmakers have altered that model according to their own ideological aims, cultural background and individual taste -- With respect to Parsifal, one of the components of the "total work of art" that has been consistently reinterpreted is the opera’s imagery in terms of either scenographical reconstruction or visual representation -- The iconographical analysis of two cinematographic versions of Parsifal (Edison, 1904 and Syberberg, 1982) illustrate how the visual aspect of the Gesamtkunstwerk has changed and, in doing so, the concept of the "total work of art" has undermined itself