Rhythms and correspondences: the visual representation of music in the films by Rose Lowder
Autor(a) principal: | |
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Data de Publicação: | 2018 |
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Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | E-Compós |
Texto Completo: | https://www.e-compos.org.br/e-compos/article/view/1461 |
Resumo: | In this article, we explore the relationships between experimental cinema, especially the so called flicker cinema, and music. We make a brief history of diverse experiences that seek to create a visual representation of music until the avant-garde cinema and experimental cinema. Then we take a closer look at the work of Rose Lowder, a filmmaker who has produced 16mm films since the 1970s and uses the flicker technique. Her work, which also includes graphic notations for the filming, can be associated to the musical phenomenon in many aspects. |
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Rhythms and correspondences: the visual representation of music in the films by Rose LowderRitmos y correspondencias: la representación visual de la música en las películas de Rose LowderRitmos e correspondências: a representação visual da música nos filmes de Rose Lowdercinema experimentalmúsicaflickerIn this article, we explore the relationships between experimental cinema, especially the so called flicker cinema, and music. We make a brief history of diverse experiences that seek to create a visual representation of music until the avant-garde cinema and experimental cinema. Then we take a closer look at the work of Rose Lowder, a filmmaker who has produced 16mm films since the 1970s and uses the flicker technique. Her work, which also includes graphic notations for the filming, can be associated to the musical phenomenon in many aspects.En este artículo, exploramos las relaciones entre cine experimental, especialmente el conocido como flicker cinema, y música. Hacemos un breve histórico de diversas experiencias que buscan crear una representación visual de la música hasta llegarnos al cine de vanguardia y al cine experimental. Entonces, analizamos más detalladamente el trabajo de Rose Lowder, cineasta que desde la década de 70 produce películas en 16mm y utiliza la técnica del flicker. Su trabajo, que también incluye notaciones gráficas para el rodaje, puede ser asociado al fenómeno musical en diversos aspectos.Neste artigo, exploramos as relações entre o cinema experimental, especialmente o chamado cinema de flicker, e a música. Fazemos um breve histórico de diversas experiências que buscam criar uma representação visual da música até chegarmos ao cinema de vanguarda e ao cinema experimental. Então, analisamos mais detidamente o trabalho de Rose Lowder, cineasta que desde a década de 70 produz filmes em 16mm e usa a técnica do flicker. Seu trabalho, que também inclui notações gráficas para as filmagens, pode ser associado ao fenômeno musical em diversos aspectos.ABEC2018-07-11info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.e-compos.org.br/e-compos/article/view/146110.30962/ec.1461E-Compós; Vol. 22 (2019)E-Compós; Vol. 22 (2019)E-Compós; v. 22 (2019)1808-2599reponame:E-Compósinstname:Associação Nacional dos Programas de Pós-Graduação em Comunicaçãoinstacron:ANPPCporhttps://www.e-compos.org.br/e-compos/article/view/1461/1923Copyright (c) 2019 Nina Cruz, Luíza Beatriz Alviminfo:eu-repo/semantics/openAccessCruz, NinaAlvim, Luíza Beatriz2020-05-19T23:57:51Zoai:ojs.www.e-compos.org.br:article/1461Revistahttps://www.e-compos.org.br/e-compos/PUBhttps://www.e-compos.org.br/e-compos/oairevistaecompos@gmail.com1808-25991808-2599opendoar:2020-05-19T23:57:51E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicaçãofalse |
dc.title.none.fl_str_mv |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder Ritmos y correspondencias: la representación visual de la música en las películas de Rose Lowder Ritmos e correspondências: a representação visual da música nos filmes de Rose Lowder |
title |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder |
spellingShingle |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder Cruz, Nina cinema experimental música flicker |
title_short |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder |
title_full |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder |
title_fullStr |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder |
title_full_unstemmed |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder |
title_sort |
Rhythms and correspondences: the visual representation of music in the films by Rose Lowder |
author |
Cruz, Nina |
author_facet |
Cruz, Nina Alvim, Luíza Beatriz |
author_role |
author |
author2 |
Alvim, Luíza Beatriz |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Cruz, Nina Alvim, Luíza Beatriz |
dc.subject.por.fl_str_mv |
cinema experimental música flicker |
topic |
cinema experimental música flicker |
description |
In this article, we explore the relationships between experimental cinema, especially the so called flicker cinema, and music. We make a brief history of diverse experiences that seek to create a visual representation of music until the avant-garde cinema and experimental cinema. Then we take a closer look at the work of Rose Lowder, a filmmaker who has produced 16mm films since the 1970s and uses the flicker technique. Her work, which also includes graphic notations for the filming, can be associated to the musical phenomenon in many aspects. |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018-07-11 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.e-compos.org.br/e-compos/article/view/1461 10.30962/ec.1461 |
url |
https://www.e-compos.org.br/e-compos/article/view/1461 |
identifier_str_mv |
10.30962/ec.1461 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.e-compos.org.br/e-compos/article/view/1461/1923 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2019 Nina Cruz, Luíza Beatriz Alvim info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2019 Nina Cruz, Luíza Beatriz Alvim |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ABEC |
publisher.none.fl_str_mv |
ABEC |
dc.source.none.fl_str_mv |
E-Compós; Vol. 22 (2019) E-Compós; Vol. 22 (2019) E-Compós; v. 22 (2019) 1808-2599 reponame:E-Compós instname:Associação Nacional dos Programas de Pós-Graduação em Comunicação instacron:ANPPC |
instname_str |
Associação Nacional dos Programas de Pós-Graduação em Comunicação |
instacron_str |
ANPPC |
institution |
ANPPC |
reponame_str |
E-Compós |
collection |
E-Compós |
repository.name.fl_str_mv |
E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicação |
repository.mail.fl_str_mv |
revistaecompos@gmail.com |
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1798045734813040640 |