From: Santiago Vernetti (email suppressed)
Date: Tue Oct 07 2008 - 15:33:34 PDT
It's not so much a problem of mine as it is an interest. An interest in how
the term has been introduced and why it has become a "defacto label." When
I was first introduced to the work of Belson and Fischinger (among other
filmmakers) I had never heard of the term. Their films were simply
described as "cinema." The term Visual Music has irked me at times only
because I have never heard anyone use the term Aural Music. The word
'music' implies the assemblage/arrangement of sounds, and so I wonder about
why it is so difficult for cinema to have the same implication with regard
to image. I understand the comparison, and I don't mean to get deep into
the bog of semantics, but the tradition of labeling cinema by comparison to
other modes of creation/expression is of interest to me: Visual Music,
Cinepoem, a Collage film, narrative cinema etc.
On Tue, Oct 7, 2008 at 1:18 PM, Larry Cuba <email suppressed> wrote:
> From: Santiago Vernetti Sent: Oct 6, 2008 1:26 PM To:
> email suppressed Subject: Re: The Debate REWIRED on You Tube
> and Vimeo
> ...lately I've been having trouble with title of "Visual Music." It's a
> term I've been hearing a lot more often, and I'm wondering what frameworks
> think about it's usage. I'm particularly interested in how the term has
> become a label for the works of filmmakers like Jordan Belson, Oskar
> Fischinger, Stan Vanderbeek etc.
> Is the problem with the term "Visual Music" itself?
> Although not a particularly strong term, it seems to
> have become the defacto label for all works created
> primarily as a form of visual art comparable to (and
> in conjunction with) the art of music.
> Or you don't think that experimental filmmakers like
> Belson, Fischinger, Vanderbeek, (also the Whitneys,
> Lye, and McLaren) belong in this category that now also
> seems to include several generations of music videos
> and VJs?
> ---Larry Cuba
> The iotaCenter
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