Oskar fischinger

Tratto da EduEDA
Jump to: navigation, search

Oskar Fischinger

Oskar Fischinger

Biografia

Nato nel 1900 a Gelnhausem in Germania deve a Bernhard Diebold la carriera di filmaker. Abbandonato il lavoro di ingegnere, e dopo aver collaborato nel ’28 con Fritz Lang, realizza tra il ’29 e il ’34 i primi studi 1-13 elaborando illustrazioni e contrappunti visivi su composizioni musicali da Brahms, Mozart e Beethoven. Studi che gli diedero grande fama tra Europa, America e Giappone.Lasciata la Germania nel 1936, è approdato a Hollywood dietro invito della Paramount, Fischinger, che non tornò mai più in Germania, incontrò tuttavia molte difficoltà a lavorare nei grandi studios dalla Paramount alla MGM, alla Disney (anche se con quest’ultima casa ispirò in gran parte il film Fantasia).Sperimentatore inventivo, Oskar Fischinger ha realizzato le sue ricerche originali , comprese diverse tecniche di animazione, 3D, colore e suono ottico. Distribuiti diffusamente, i suoi film hanno influenzato molti filmakers e hanno contribuito a creare un genere singolare nel campo del film astratto.

Opere

Videografia

A full annotated filmography may be found at the website of The Fischinger Archive. Do not lift our work from our website and assign a Creative Commons license here again. The following filmography was authored by The Fischinger Archive and must be attributed as such.

  • [Wax Experiments], 1921-1926.
  • Orgelstabe [Staffs], 1923-27.
  • Stromlinien (Currents), c. 1925.
  • [Spirals], 1926, b/w, silent. Experiments.
  • Pierrette (unfinished) from Munchener Bilderbogen Series (1924-26)
  • Multiple projector performances, Fieber, Vakuum and Macht c. 1926-27; later, R-1, ein Formspiel (R-1, a Form-Play).
  • Seelische Konstruktionen (Spiritual Constructions), c.1927, b/w, silent.
  • Munchen-Berlin Wanderung (Walking from Munich to Berlin), 1927, b/w, silent.
  • Studie Nr. 1, c.1929, b/w, silent
  • Studie Nr. 2, c.1930, b/w.
  • Studie Nr. 3, 1930, b/w.
  • Studie No. 4, 1930, b/w (lost?)
  • Studie No. 5, 1930, b/w, sound
  • Studie Nr. 6, 1930, b/w, sound.
  • Studie Nr. 7, 1930-31, b/w, sound.
  • Studie Nr. 8, 1931, b/w, sound.
  • Studie Nr. 9, 1931, b/w, sound.
  • [Liebesspiel], c. 1934, b/w, silent.
  • Studie Nr. 10, 1932, b/w, sound.
  • Studie Nr. 11, 1932, b/w, sound.
  • Studie Nr. 12, 1932
  • Koloraturen (Coloratura), 1932, b/w, sound.
  • Ornament Sound Experiments, 1932, b/w, sound
  • Studie Nr. 13, 1933/4, b/w, sound, unfinished
  • Kreise (Circles), 1933, color, sound.
  • Ein Spiel in Farben (A Play in Colors), 1934, color, sound
  • Quadrate (Squares), 1934, color, silent.
  • Muratti Greift Ein (Muratti Gets in the Act), 1934, color, sound.
  • Swiss Trip: Rivers and Landscapes, 1934, b/w, sound.
  • Muratti Privat, c.1935, b/w, sound.
  • Muratti commercial, 1934
  • Meluka cigarettes ad
  • Komposition in Blau (Composition in Blue), 1935, color, sound.
  • Allegretto, 1936-1943, 3 versions
  • An Optical Poem, 1937, color, sound
  • An American March, 1941, color, sound
  • Radio Dynamics, 1942, color, silent.
  • Motion Painting No. 1, 1947, color, sound
  • Muntz TV Commercial, 1952, b/w, sound.
  • Advertising Films, c.1945-55
  • Stereo Film test, 1952, color, silent.
  • Synthetic Sound experiments, 1948 and 1955

Musei

Bibliografia

An extensive Bibliography may be found at the Fischinger Research Pages of the Center for Visual Music (link below in websites). It was not licensed under Creative Commons by us, please do not copy our web pages in entirety and post them here again. A brief selected bibliography follows; please credit/attribute Center for Visual Music.


  • Fischinger, Oskar. "My Statements are in My Work." Art in Cinema, Frank Stauffacher, ed. San Francisco: Art in Cinema Society-San Francisco Museum of Art, 1947
  • Moritz, William. "The Films of Oskar Fischinger." Film Culture 58-60 (1974)
  • Martin, André. "Pourquoi il Faut Voir, Revoir et Revoir Encore les Films de Oskar Fischinger." Ottawa '76 International Animated Film Festival. Cinémathèque Québecoise, 1976.
  • Moritz, William. "The Importance of Being Fischinger." Ottawa '76 International Animated Film Festival. Cinémathèque Québecoise, 1976.
  • Russett, Robert and Cecile Starr. Experimental Animation. New York: Van Nostrand Reinhold Co., 1976. Rev. ed. New York: Da Capo Press, 1988.
  • Moritz, William. Fischinger at Disney - or Oskar in the Mousetrap. Millimeter. 5. 2 (1977) *Canemaker, John. "Elfriede! On the Road with Mrs. Oskar Fischinger." Funnyworld 18 (Summer 1978)
  • Moritz, William. "You Can't Get Then from Now." (Part I). Los Angeles Institute of Contemporary Arts Journal 29 (1981)
  • Fischinger, Elfriede. "Writing Light." The Relay. 3.2 (May 1984)
  • Beauvais, Yann, Dusimbere, Deke, (sous la dir. de), Musique Film, Scratch / Cinémathèque Française, Paris, May 1986.
  • Bendazzi, Giannalberto. Cartoons: Il cinema d'animazione, 1888-1988. Venice: Marsilio Editori, 1988. English edition: Cartoons: One Hundred Years of Cinema Animation. London: John Libbey & Company Ltd., 1994.
  • Ehrlich, Susan. "Oskar Fischinger." Turning The Tide: Early Los Angeles Modernists, 1920-1956. Santa Barbara Museum of Art, 1990.
  • Moritz, William. Optische Poesie. Frankfurt: Deutsches Filmmuseum, 1993
  • Moritz, William. "Gasparcolor: Perfect Hues for Animation." Animation Journal 5 (1996)
  • Allan, Robin. Walt Disney and Europe: A Closer Look At Sources. London & Sydney: John Libbey, 1999.
  • Moritz, William. "Oskar Fischinger, artista del secolo, Gli anni americani." Cinegrafie 13 (2000): 112-117 (Italian). In English: 278-282.
  • Moritz, William. Optical Poetry: The Life and Work of Oskar Fischinger. Eastleigh: John Libbey, 2004
  • James, David. The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles. Berkeley: University of California Press, 2005.
  • Keefer, Cindy. "Space Light Art: Early Abstract Cinema and Multimedia, 1900-1959." White Noise. Ernest Edmonds and Mike Stubbs, eds. Melbourne: ACMI, 2005.
  • Jewanski, Jörg and Natalia Sidler, Eds. Farbe - Licht - Musik: Synästhesie und Farblichtmusik. Bern: Peter Lang, 2006.
  • Leslie, Esther. "When Abstraction and Comics Collide." Tate ETC 7 (Summer 2006)

Sito web

Poetica

Dall’arrivo nel 1935 a Hollywood di Oskar Fischinger il quale, sebbene non fosse riuscito ad integrarsi nell’establishment hollywoodiano, che lo trovava anti-narrativo e quindi non commerciale, con la sua tecnica fu di grande stimolo alla nascita di una nuova corrente astratta in America. Oskar Fischinger invece di usare forme geometriche partirono con l’utilizzare forme lineari disegnare seguendo un ritmo prefissato su una base musicale. Len Ley invece decise di optare per il metodo grafico, dipingendo direttamente sulla pellicola.


Webliografia

http://web.tiscali.it/cinema_underground/versione_italiana/2avang.htm http://www.blue-room.it/experimental-cinema http://www.cinetecadelfriuli.org/gcm/previous_editions/edizione2000/avanguardia2000.html http://grajilla.net/wiki/index.php?title=Chi_Era_Oskar_Fischinger%3F http://www.em-arts.org/edition_06/films_06/synchromy.html http://www.centerforvisualmusic.org/library/ImportBF.htm http://www.imdb.com/name/nm0279202/

Ricavato da "https://www.edueda.net/index.php?title=Oskar_fischinger&oldid=35699"