OSKAR FISCHINGER
volume 1
(VHS PAL & SECAM) -
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MURATTI GREIFT EIN 1934 couleurs, 2"
SPIRITUAL CONSTRUCTIONS 1927 n/b, 7"
STUDY N°7 1931, n/b, 2"30'
STUDY N°8 1931, n/b, 5"
KREISE 1933, couleurs, 2"
ALLEGRETTO 1936, couleurs, 3"
MOTION PAINTING N°1 1947, couleurs, 11"
Born at the turn of the century, Oskar Fischinger discovered cinema at the age of 20 from the German avant-garde animators (Eggeling, Richter and Ruttman) and began his own visual experiments in 1921. From 1929 to 1934 he composed his well-known series of Studies (Studie 1-13) based on the rhythm proper to moving images, illustrations or visual counterpoints to musical compositions (Brahms, Mozart, Beethoven). An inventive experimenter, Oskar Fischinger performed his own original research, including different animation techniques, 3D, optical sound and color, developing the Gasparcolor process in 1933 with Béla Gaspar. Widely distributed, his films influenced many filmmakers (from Norman Mclaren to Walt Disneys Fantasia) and helped to create for them a singular genre in the domain of abstract film.
Go down into your eye, go down into your own eye ... and going ...
This first video edition of Oskar Fischinger's films was curated by Elfriede Fischinger and William Moritz and included a booklet by W. Moritz.
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Né avec son siècle, Oskar Fischinger découvre à vingt ans le cinéma des avant-gardistes allemands (Eggeling, Richter et Ruttman) et se livre dès 1921 à ses premières expérimentations visuelles. De 1929 à 1934, il réalise sa célèbre série d'Etudes (Studie 1 à 13) basée sur le rythme propre aux images en mouvement, illustrations ou contrepoints visuels de compositions musicales (Brahms, Mozart, Beethoven).
Expérimentateur inventif, Oskar Fischinger s'est lancé dans des recherches originales sur les différentes techniques comme les procédés d'animation, le relief, le son optique ou la couleur et il mit au point dès 1933 le procédé Gasparcolor avec Béla Gaspar. Largement diffusés, ses films ont marqué de nombreux cinéastes (de Norman Mclaren à l'équipe de Walt Disney avec Fantasia) et ont contribué à créer à eux seuls un genre singulier dans le domaine du cinéma abstrait.
" Descends à l'intérieur de ton oeil, à l'intérieur de ton propre oeil ... et continue ... "
Cette première édition en vidéo des films d'Oskar Fischinger a été choisie par Elfriede Fischinger et William Moritz et a comprendu un livret de textes de W. Moritz.
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John Cage Featured on KPFA's Ode To Gravity Series (December 12, 1987):
John Cage discusses how he met filmmaker Oskar Fischinger through Galka Shire around 1935.
Based on an interview with John Cage, conducted by Charles Amirkhanian at the Exploratorium's Speaking of Music in San Francisco, this Ode to Gravity program was heard nationwide over the NPR satellite. Amirkhanian begins with a quick history of Cage's musical upbringing, leading into an interview conducted with Cage during preparation for the San Francisco Symphony's "all-Cage" evening in 1983.
The program opens with a performance of "Double Music" (1941) written jointly by Cage and Lou Harrison. The music is performed by the Manhattan Percussion Ensemble, under the direction of Cage.
Amirkhanian gives background on Cage, including the influence of Henry Cowell, Arnold Schoenberg and Buddhism, leading into a summary of Cage's style.
Introduction of the interview, conducted at Davies Symphony Hall in 1983, during preparation for the San Francisco Symphony's "all-Cage" evening.
Cage discusses how he met filmmaker Oskar Fischinger through Galka Shire around 1935, which led him to composing music for percussion instruments. Cage relates this music to silence and zen, moving away from the usual motivation of music as communication" towards "music as a means of sobering and quieting the mind, thus subjecting it to divine influences."
Cage discusses his "Credo in Us", composed in 1942 in New York City for a dance choreographed by Merce Cunningham and Jean Erdman.
"Credo in Us" performed by Musica Negativa, conducted by Reiner Riehn.
Part I (57:43)
John Cage/Lou Harrison: Double Music
performed by Manhattan Percussion Ensemble
conducted by John Cage
Interview with Cage (1983)
Credo in US (1942)
performed by Musica Negativa
conducted by Reiner Riehn
on "Music before Revolution" (EMI)
Ryoanji (1983)
Michael Pugliese percussion, Isabell Ganz mezzo soprano
(Mode Records)
Part II (57:58)
Experiences No. 2 (1945-1948)
text from Tulips and Chimneys by e.e. cummings
performed by Robert Wyatt on
"Jan Steele/John Cage: Voices and Instruments"
(EG Obscure 5)
Lecture: EurOperas I & II
Speaking of Music series at the McBean Theater, SF
January 8, 1987
MusiCircus -- November 21, 1969 featuring
How to Improve the World (You will only make matters worse) (1966)
(part 2)
