El cine estructural y la experimentación sonora

• Autores: Juan Antonio Suárez
• Localización: Archivos de la filmoteca: revista de estudios históricos sobre la imagen, ISSN 0214-6606, Nº 53, 2006 (Ejemplar dedicado a: Notas a la vanguardia norteamericana de posguerra; Teoría del actor en el cine de Weimar), págs. 82-103
• Idioma: español
• Títulos paralelos:
  • Structural cinema and sound experimentation
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• Dialnet Métricas: 2 Citas
• Resumen

  • This essay studies the connections between the late-1960s/early-1970s structural cinema of Michael Snow, Kenneth Jacobs, Paul Sharits, and Ernie Gehr, among others, and contemporary sound and musical experiments carried out by John Cage, LaMonte Young, Terry Riley, and Steve Reich, among others. It shows that structural cinema was directly influenced by sound experimentation and should be seen as a visual counterpart of the musical avant-garde. It further suggests that structural film sought to transmit “noise” in the auditory and cybernetic senses of the term: its goals were not transparency and legibility but contingency and opacity