Oskar fischinger: differenze tra le versioni

Revisione 17:40, 4 Mar 2007

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

• [Wax Experiments], 1921-1926. Experiments, not publicly shown by Fischinger. B/w & tinted, silent.
• Orgelstabe [Staffs], 1923-27, b/w, several versions, experiments
• Stromlinien (Currents), c. 1925. Experiments, b/w & tinted, silent.
• [Spirals], 1926, b/w, silent. Experiments, probably not publicly shown by Fischinger.
• Pierrette (unfinished) from Munchener Bilderbogen Series (1924-26) with Louis Seel
• Multiple projector performances, first with Alexander László's Farblichtmusik concerts, then on his own, titled Fieber, Vakuum and Macht (Power), c. 1926-27; later, R-1, ein Formspiel (R-1, a Form-Play). B/w & tinted, accompanied by various music. William Moritz/FA recreation of R-1, 1980.
• Seelische Konstruktionen (Spiritual Constructions), c.1927, b/w, silent.
• Munchen-Berlin Wanderung (Walking from Munich to Berlin), 1927, b/w, silent. Experiment.
• Fiesta, 1932 (fragment)
• Studie Nr. 1, c.1929, b/w, silent (originally accompanied by live organ music).
• Studie Nr. 2, c.1930, b/w, originally accompanied by sound on record
• Studie Nr. 3, 1930, b/w, originally accompanied by sound on record
• Studie No. 4, 1930, b/w (lost?)
• R.5, Ein Spiel in Linien, aka Studie No. 5, 1930, b/w, sound (Early prints are silent).
• 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, with Hans Fischinger.
• Koloraturen (Coloratura), 1932, b/w, sound.
• Ornament Sound Experiments, 1932, b/w, sound
• Studie Nr. 13, 1933/4, b/w, sound, unfinished; aka [Coriolan Fragment]

26. Kreise (Circles), 1933, color, sound. Tolirag ad version.

• Kreise (Circles), 1933, color, sound. Abstract version.
• Ein Spiel in Farben (A Play in Colors), 1934, color, sound; aka Studie No. 11a
• 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.
• Euthymol Ad: Pink Guards On Parade, 1935, color (uncompleted). Moritz reconstruction, 2000.
• Late Berlin Work, 1933-35:
• Muratti commercial, 1934
• Muratti tests
• Meluka cigarettes ad
• Gaspar Color tests, 1933, color, silent (some appear in the R-1 recreation film)
• Rectangles fragments
• Komposition in Blau (Composition in Blue), 1935, color, sound.

aka Lichtkonzert Nr. 1 (Light-Concert No. 1)

In America:

• Allegretto, 1936-1943, 3 versions
• Allegretto, Early Verson (made at Paramount but not printed in color there); color, sound.
• [Paragretto] b/w version at Paramount
• Allegretto, Late or 'popular' version, 1943, color, sound (made with the support of The Museum of Non-Objective Painting)
• An Optical Poem, 1937, color, sound (made for MGM)
• [Color Rhythm], c. 1940, color. Unfinished, not screened by Fischinger.
• An American March, 1941, color, sound (made with the support of The Museum of Non-Objective Painting)
• [Organic Fragment], 1941 (not filmed by Oskar). Reconstruction by Moritz and Barbara Fischinger, 1984, color, silent.
• Radio Dynamics, 1942, color, silent.
• Mutoscope Reels, c. 1945. Reconstruction by Dr. Moritz and Barbara Fischinger, 1984
• Motion Painting No. 1, 1947, color, sound (made with the support of The Museum of Non-Objective Painting)
• Muntz TV Commercial, 1952, b/w, sound.
• Advertising Films, c.1945-55 incl. Oklahoma Gas, Pure Oil, and soundtrack for Northern Tissue
• Stereo Film test, 1952, color, silent.
• Synthetic Sound experiments, 1948 and 1955
• Motion Painting No. 2 and No. 3 (fragments), 1957, and c. 1960. 16mm, color, silent.

Musei

Bibliografia

• Schneider, Rudolph. "Formspiel durch Kino," Frankfurter Zeitung 12 July 1926.
• Böhme, Fritz. "Der Tanz der Linien." Deutsche Allgemeine Zeitung 16 Aug. 1930.

• Behm, Walther. "Abstrakte Filmstudie Nr. 5 von Oskar Fischinger (Synästhetischer Film)." Farbe-Ton-Forschungen, ed. Georg Anschütz. Vol. III. Hamburg: Meissner, 1931: 367-369.
• Diebold, Bernhard. "Über Fischingerfilme: das ästhetische Wunder." Lichtbildbühne 1 June 1932.
• Fischinger, Oskar. "Klingende Ornamente." Deutsche Allgemeine Zeitung, Kraft Und Stoff 28 July 1932. English version: Sounding Ornaments
• Bohme, Fritz. "Tönende Ornamente: Aus Oskar Fischingers neuer Arbeit." Film-Kurier 30 July 1932.
• Knight, Arthur. "The Small Screen." Theatre Arts 31.5 (May 1947): 1, 9-10.
• 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: 38-40. Reprint New York: Arno Press, 1968. Hosted online at Fischinger Archive.
• Manvell, Roger ed. Experiment in the Film. London: Grey Walls Press, 1949. 131, 140, 198, 229-230, 233.
• Fischinger, Oskar. "Véritable Creation." Le Cinéma À Knokke-Le-Zoute. 1950: 35-37. English version hosted online at Fischinger Archive.
• Cotta, Ty. "Oskar Fischinger: Abstract Movie Master." Modern Photography Vol 16:7 (July 1952), 74-75, 82, 84.
• Millier, Arthur. "Fischinger Still Paintings on Exhibit at Pasadena." Los Angeles Times 30 Dec. 1956.
• Renan, Sheldon. An Introduction to The American Underground Film. New York: Dutton, 1967. 51, 59, 79, 81-82, 93-95, 116.
• Weaver, Mike. "The Concrete Films of Oskar Fischinger." Art And Artists 4.2 (1969): 30-33.
• Curtis, David. Experimental Cinema. London: Studio Vista, 1971. 30, 53-61, 131, 134.
• Moritz, William. "The Films of Oskar Fischinger." Film Culture 58-60 (1974): 37-188.
• 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. Hosted online at CVM Library.
• 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): 25-28, 65-67.
• Canemaker, John. "Elfriede! On the Road with Mrs. Oskar Fischinger." Funnyworld 18 (Summer 1978): 4-14. Online version at Fischinger Archive.
• Hein, Birgit, and Wulf Herzogenrath, eds. Film Als Film, 1910 Bis Heute. Kölnischer Kunstverein, 1978: pp. 74-78. English-language version: Film as Film: Formal Experiment in Film, 1910-1975, Hayward Gallery/Arts Council of Great Britain, 1979.
• Rosenblum, Gordon. Oskar Fischinger, 1900 - 1967. Fischinger, a Retrospective of Paintings and Films. Curators Gerald Nordland and Gordon Rosenblum. Denver, CO: Gallery 609, 1980.
• Moritz, William. "You Can't Get Then from Now." (Part I). Los Angeles Institute of Contemporary Arts Journal 29 (1981): 26-40, 70-72. Hosted online at the CVM Library.
• Canemaker, John. "The Abstract Films of Oskar Fischinger." Print Magazine 37.2 (March/April 1983): 66-72.
• Fischinger, Elfriede. "Writing Light." The Relay. 3.2 (May 1984): 4-7. Reprinted in First Light, Robert A. Haller, ed. New York: Anthology Film Archives, 1998: 30-34. Hosted online at CVM Library.
• Moritz, William. "Towards a Visual Music." Cantrills Filmnotes 47-48 (1985): 35-42.
• v. Maur, Karin. Vom Klang der Bilder: Die Musik in der Kunst des 20.Jahrhunderts. Munchen: Prestel, 1985
• Moritz, William. "Abstract Film and Color Music." The Spiritual In Art: Abstract Painting 1890-1985. New York: Abbeville, 1986: 296-311.
• 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. Trans. Anna Tarabolettti-Segre. 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. 63-67.
• Moritz, William. "Film Censorship During the Nazi Era." Degenerate Art: The Fate of The Avant-Garde in Nazi Germany. New York: Abrams, 1991: 184-191. German edition: Entartete Kunst: Das Schicksal Der Avantgarde Im Nazi-Deutschland. Munich: Hirmer, 1992: 184-191.
• Lorenz, Marianne. "Oskar Fischinger." Theme And Improvisation: Kandinsky and The American Avant-Garde. Dayton Art Institute, 1992: 159-162.
• Moritz, William. Optische Poesie. Frankfurt: Deutsches Filmmuseum, 1993: 7-90.
• Moritz, William. "Oskar Fischinger: artiste de ce siècle." L'armateur 12 (1994): 29-33.
• Moritz, William. "Musique de la Couleur - Cinéma Intégral." Poétique de la Couleur. Paris: Musée du Louvre, 1995. English version hosted online at CVM Library.
• Smith, Harry. "Oskar Fischinger." Articulated Light: The Emergence of Abstract Film in America. Gerald O'Grady and Bruce Posner, Eds. Boston: Harvard Film Archives, 1995: 9.
• Karlstrom, Paul J., ed. On the Edge of America - California Modernist Art 1900 - 1950. Los Angeles: University of California Press, 1996. 13, 224-228, 232, 238, 283. Online version
• Moritz, William. "Gasparcolor: Perfect Hues for Animation." Animation Journal 5 (1996): 52-57. Hosted online by Fischinger Archive.
• Moritz, William. "Oskar Fischinger." L'art du mouvement. Jean-Michel Bouhours, Ed. Paris: Centre Georges Pompidou. 1996: 154
• Moritz, William. "The Dream of Color Music, and Machines That Made it Possible." Animation World Magazine 2.1 (1997)
• Knight, Christopher. "First Class Study of Fischinger's Impact." Los Angeles Times 2 May 1998: F1.
• 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. "Oskar Fischinger: Artist of the Century." Animac Magazine (2001), Mostra Internacional de Cinema d'animació (English version online)
• Galard, J., ed. et al, L'Oeuvre d'Art Totale. Paris: Gallimard and Musée du Louvre, 110, 123-131, 133-137.
• Moritz, William. Optical Poetry: The Life and Work of Oskar Fischinger. Eastleigh: John Libbey, 2004
• Duplaix, Sophie and Marcella Lista, eds. Sons & Lumieres: Une histoire du son dans l'art du XXe siecle. Paris: Editions du Centre Pompidou, 2004.
• Brougher, Kerry, ed., et al. Visual Music: Synaesthesia in Art and Music since 1900. London and New York: Thames & Hudson, 2005
• 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. 21-28, 30-31, 33.
• Cox, Christoph. "Lost in Translation: Christoph Cox on Sound in the Discourse of Synesthesia." Artforum, October 2005.
• Jewanski, Jörg and Natalia Sidler, Eds. Farbe - Licht - Musik: Synästhesie und Farblichtmusik. Bern: Peter Lang, 2006. (Part of the series, Zurcher Musikstudien Band 5).
• MacDonald, Scott, ed. Art in Cinema: Documents Toward a History of the Film Society. Temple University Press, 2006.
• Leslie, Esther. "When Abstraction and Comics Collide." Tate ETC 7 (Summer 2006): 44-49.

Sito web

http://www.oskarfischinger.org/

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/