romantic aesthetic legacy of an interpenetration of the arts, such as those advocated by Wagner or Appia in the second half of the nineteenth century, only develop in part by the avant-garde art in the early twentieth century. They look with confidence to the scientific and technical progress, which is considered parallel to the social and artistic, and it is thanks to the technical development that created a new art form: the technique film. With the invention of the Lumiere brothers first became widespread in France, then throughout the world cinema, as a new realization of the great utopia of making the service of the motion, which was about materializing in 1885.
This amazing invention, but in a different way, is echoed in the art world as happened previously with the development of photography, responsible for a radical aesthetic for half of the artists' nineteenth century (think of the Impressionists only for first wanted to abandon the objective reproduction of mimesis, or imitation of reality, now no longer included).
"Luncheon on the Grass" by Édouard Manet, 1863
If artists with photography feel the need to go beyond the true image of reality offered by the vehicle and get away from it, with the invention and development of the artist rather than reject the cinema new representation of reality is extremely
attracted and captured, being able to exploit its potential. The research and experimentation of the avant-garde art from time to time are always more extensive, far from the intention of wanting to make art socially and culturally recognized as the tradition of the artist easel. The various movements that make up the avant-gardes (Cubism the in France, ' and the Abstract Expressionism in Germany, Futurism in Italy, the Dada in Switzerland and, in the postwar period, even in France, Surrealism ) have followed a dizzying pace often in sharp controversy between them and born from the need to overrun each other. Despite having a short life, a few years or even one decade, the production of the various European movements have focused on a focal point in mind: the complete break from the past is both the context of contemporary art through the publication of manifestos . very important in the artistic production were the theories of Sigmund Freud , which has revolutionized the way of conceiving human interiority, and the theory of relativity Albert Einstein , which undermines the certainty that the truth is only a personal point of view. With all these changes the cultural landscape could not influence the art scene: coming unless the certainty of absolute truth seems to be moving any experimentation in the field of preventive self-seeking.
The artist calls into question the canons of the academic model and no longer recognize as their own rails against the artistic establishment, composed of well-established rules and techniques, to search for new methods of expression and new aesthetic subjects. A new constant is studied and turn out to be adapted to the painting, the weather, which has always belonged to music and that ends up being experienced by the artists themselves.
There were those years in a series of experiments and theoretical considerations that are laying the foundations for the development of a motion picture in a more experimental.
"Dynamism of a dog on a leash" Giacomo Balla, 1912
upstream of artistic experimentation, the synthesis of the arts grows mainly in the theater: the French, German and Russian but also Italian ( Futurist). E 'and also mainly through the painting that the idea of \u200b\u200bcreating a symphony of colors I am referring to some experiments made over a century ago when the original ideas had to reckon with the simple means available at that time to see birth some ingenious little inventions between music and colors.
Together with the Jesuit Louis-Bertrand Castel which in 1875 introduced the "ocular harpsichord" many other inventions followed one another during the nineteenth century such as "body color" of Bainbridge Bishop, a musical instrument capable to create a visual match of colored lights.
"Color Organ" by Bainbridge Bishop, 1877
inventions could not find evidence technicians until the first third of the 900 when the combination of color / music was explored by the artists.
when compared to the U.S. research (characterized by a different way of viewing the contents and subject and therefore prone to type an imprint of comic-cartoonist), the European avant-garde are more focused on a very particular style as "avant-garde cinema" in live in the cinema and abstract painting in motion.
The avant-garde cinema is born with the intention to disengage from reality to stage of antinaturalistic ways, the antithesis of forms and images taken from the otherwise real or invented (such as those zoomoorfe the cartoon), which take on the characteristics of avant-garde movements.
The new experiments that represent the artists create an aesthetic syncretism able to blend and mix together all the languages: graphics, painting and sculpture, theater and poetry as well as the ballet up to the music that completes the whole.
The theoretical reflections on the integration of painting, cinema and music are still numerous in the first decades of the century.
relations between language, movement and music were real when they were performed early experiments cinepittura brothers Futurists Arnaldo and Bruno Ginanni Corradin i. The two brothers Ginanni Corradini, who had renamed respectively Arnaldo Ginna and Bruno Corra in those years befriended by various futurists including Marinetti and Balla.
Like many other artists of the Italian movement became interested in many disciplines Comelato painting and cinematography. In fact, they immediately saw the potential of the film cinepittoriche understood as artistic creation.
In 1912, Bruno Corra says
" We went to the cinema and we thought that this tool, slightly modified, it should give excellent results: the the light output was the best you could ever want [...] enough for this to pass before the camera all the color components in less than a tenth of a second, so with a simple cinematographic, with a small car we got the numerous and powerful effects of the great orchestras, the true chromatic symphony. "(1.)
The technique of the cartoon is produced with the technical process of" step one ", a technique for which an image designed to move, cut, geometric or whatever 'other emotional needs one frame at a time at which time this technique has still not even tried not using a machine capable of giving a certain fluidity of movement to the design. So in those years the two brothers formed an ingenious and an important series of experiments: the "Cinepittura.
Ginna and Corra with their camera and several rolls of film is not emulsified, that they were specially sent from abroad, and created some curious experiments, in surrealist art movement through the brush with the color of a frame at a time, but used a meticulous even for the environments and characters from Georges Méliès.
colorize Scene of "Journey through the Impossible" by Georges Méliès 1903
Between 1910 and 1911 they released several works, unfortunately, been lost: "Agreement" color performance of an agreement executed by the color Segantini, "Study of effects of four colors" study of the effects of complementary colors ( red, green, blue and yellow), "Song of Spring" color translation of a work by Mendelssohn and "Les fleurs" color rendition of an opera by Mallarmé. Bruno Corra
describes his experiments with the Ginna
brother about the "color music" and experiments in cinepittura:
" The fruits of this period of experiments, from June to October last past, with four rotoletti film only one of which exceeds two hundred meters long, I'm here, inside my drawer, sealed in their boxes, labeled and ready for the museum will [...], the first theme contains the conduct of a arrangement of color removed from a framework of Segantini - one where you see the houses at the bottom, and at the front, a woman lying in a field - the grass of the lawn, all of commingled flowers, is made by means of complementary, with a swarm of varied colors, the grass is alive, it vibrates all seems covered by a vent of harmony, you can see the creative power of Spring matter at a feverish light-jet, color us impressed by this agreement and do it entirely in one hundred and eighty feet of film, the second is a study of the effects of four color, two by two additional, red, green, blue and yellow, the third is a translation and reduction of the Song of Spring with a braided Mendelssohn theme taken from a waltz by Chopin, the fourth, perhaps the most interesting, is a translation of the famous and beautiful colors in the poetry of Stéphane Mallarmé Les Fleurs . (2.)
Mario Verdone writes: " Since 1907, he says Ginna in one of the frequent discussions with him, had to prepare this study, I realized the possibilities cinepittoriche film, but in 1908-1909 there was no machine to take shots in time, one frame at a time. "I thought," adds, "you paint directly on film. I sent for fresh film without silver nitrate, only celluloid and holes, and painting directly on film. Magini The optical film made me from the outside. But houses were reluctant. 'What if they do it?', you asked ... . (3.)
After Pathé bought a hand crank (machine recovery period), Ginna turned the first few scenes that did develop in a plant outside the Porta del Popolo where he was director, producer and financier
. Unfortunately, that feature today only a few frames, the film in question was "future life".
scene from the movie "future life" by Arnaldo Ginna, 1916
After more than 60 years Bruno Corra in a personal letter to Gianalberto Bendazzi describes their experiments:
"The frames of experiments in 1910 I have not for many more years [...]. Those experiments, especially the piece on the Segantini, were made to run "color music". Symphonies short, reasons "color." They were made even small animations in black and white. The very first made a small book, but many pages, making them quickly scroll through pages that it seemed the movimento.Poi transcribed these films on celluloid, but without pigment emotional nitrate of silver, and hand-made [...] be gone, like a dream! . (4.)
was born in Italy in the first decade of the century "cinepittura", a technique that Norman McLaren, a poet of animation, a few years later he completed, continuing with the most varied techniques.
addition to the two brothers Ginanni Corradini, then there were several isolated experiments were unsuccessful, and although there is no doubt that there was need to create a work of considerable intellectual and artistic level, as the experiments of the painter, set designer Luigi Veronesi and graphic Milan between 1939 and 1942 completed a series of experiments designed abstract on film at a reduced size, then for a closed circuit. The Swede Viking Eggeling
, active in Germany between 1917 and 1920, the short film "Horizontal-Vertikal Orchestra", where in a period of ten minutes is played a rhythmic theme that goes from bottom to top through experiments visual music. A few years later dissatisfied with the results accomplished in collaboration with a German manufacturer and partner Erna Niemyer the work "Diagonal Symphony", projected for the first time in Berlin in 1925, where he continues to follow the movements of metamorphosis a white form.
Scene from the opera "Diagonal Simphonie" Viking Eggeling, 1925
Among the artists who step up production in experiments between music and image are the German artists under the influence of abstract movement - Dadaist develop a number of experiments is above all the painter Hans Richter parallel with Eggeling, between 1920 and 1925 made three short films with the cropped images "Rythmus 21", "Rithmus 23" and "Rithmus 25", and 1926 he produced "Filmstudio", the first of many experiments that follow, where the animations are juxtaposed with the live action: integration So between cinema and animation takes place through movement, where just about the artist said, " [...] It was obvious to us that these scrolls, the whole movement involving [...] and the movement involved the cinema. '(5.)
Based on the short film "Filmstudio" by Hans Richter, 1926, at the forefront
not interested in the narrative dimension of language, but the music seems to become the ideal companion for the game between the forms and colors, and then summoning fantastic views.
Another artist, Arnold Schonenberg, working long project to create a color set to music painter Kandinsky in 1913 and in his compositions of color with the music you want writes "... the most unreal! , "and yet" ... (the film) should never suggest symbols, or meanings, or thoughts, but simply make the game of colors and shapes. Just as the music never drags behind a meaning, at least in the form in which it manifests itself even if the meaning is inherent in his nature, so this film should be as simple as sounds for the ear, and for me concerned, everyone is free to feel or think something similar to what he thinks when he hears the music . '(6.)
Artists like Fischinger , Eggeling, Ruttman work mainly on visual symphonies, that is the game of rhythm and color, while with the advent of sound cinema in the search for the artist gets more interesting: the first sounds appear, speech, dialogue and music as noise.
All well in those years seemed to enrich the research of these artists.
The sound that makes its way in the cinema between 1930 and 1940, this new practice seemed to throw new ideas from which to draw and turn to imaginative experiments.
no coincidence that the interest of the Hungarian painter and photographer, Lazlo Moholy Nagy during the period in which the Bauhaus school of art comes into contact with many artistic experiences and although not directly related to the cinema 'animation, is interested in the years to the medium of film on it as a valuable source for the use of sound in unconventional ways.
Notes:
1. "BIDIBI BODIBI BU. The music of Betty Boop cartoons with Peter Gabriel" Michelone Guido and Giuseppe
Vallanzise, \u200b\u200bp.32 note 2, Castelvecchi edition, Rome 1998.
2. From "Color Music." The Shepherd, the sheep and the bagpipe "by Bruno Corra, vol. I, Library Belton, 1912.
3." Cinema and literature of the future "of MarioVerdone, p.. 27, Ed White and Black, Rome 1968.
4. BIDIBI BODIBI BU. The music in cartoons from Betty Boop to Peter Gabriel "Guido Michelone and
Joseph Vallanzise, \u200b\u200bp.32 note 1, Castelvecchi edition, Rome 1998.
5." BIDIBI BODIBI BU. The music from Betty Boop cartoons with Peter Gabriel and Joseph Guido Michelone Vallanzise p.24, Castelvecchi edition, Rome 1998.
6. "The digital media arts. Stories, techniques, languages, ethics and aesthetics of the arts of the new millennium "by Andrea Balzola and Anna Maria Monteverdi p.63, quoting No. 16 edition, Garzanti, Milano 2004.
0 comments:
Post a Comment