20th Century Music within the Cinema

Lectures

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  Fordidden Planet

  1954 – Fred Macleod Wilcox (USA)

  Electronic

  electronic realization by Louis & Bebbe Barron
  psychic landscapes & extraterrestrial presence
  cosmic energy and immaterial instrumentation

• 

  The Shining

  1980 – Stanley Kubrick (UK)

  Avant-garde orchestral

  source score by Bela Bartok / Kryzysztof Penderecki / Gyorgy Ligeti
  the Other & atonality
  orchestral collapse & mental stress

• 

  Moses and Aaron

  1976 – Jean-Marie Straub & Danielle Huillet (Germany)

  Serialism

  opera by Arnold Schoenberg
  cinematicized libretto
  biblical text & musical literalization

• 

  The Convent

  1998 – Manoel De Oliveira (Portugal)

  Spectralism

  source score by Igor Stravinsky / Sofia Gubajdulina / Toshir Mayazumi
  aural vastness & emptiness
  Judeo-Christian erasure

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  Arashi ga oka

  1985 – Yoshihige Yoshida (Japan)

  Japanese modernism

  orchestrations by Toru Takemitsu
  western inversions
  traditional noise
  gendered musical semes

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  Life On A String

  1991 – Kaige Chen (China)

  Chinese modernism

  composer Xiao-Song Qu
  converted grandeur and Chinese scale
  mystical power of the troubador

• 

  A Clockwork Orange

  1971 – Stanley Kubrick (UK)

  Synthetic classical

  composer Walter Carlos
  source score by Ludwig Beethoven / Gioacchino Rossini / Edward Elgar
  the act of listening
  social manipulation & synthetic process

• 

  Tron

  1982 – Steve Lisberger (USA)

  Analague digital simulation

  composer Wendy Carlos
  duality and aural rendering
  the plastic orchestra
  simulative sonics

• 

  Koyanisqaatsi

  1983 – Godfrey Reggio (USA)

  Minimalism

  composer Philip Glass
  cavernous vibrations and earth frequencies
  choral affects and epic bombast

• 

  Vagabonde

  1985 – Agnes Varda (France)

  Atonal

  composer Joanna Bruzdowicz
  amorality and indifference in atonality
  narrative blockages in harmonic progression