Oscar Fischinger

Moving im­age, mov­ing paint­ing the­ory is prac­tice, see­ing hstor­i­cal work gives you au­thor­ity to talk about your own work

KREISE ein far­ben­spiel von os­car fischinger vi­sual mu­sic, ab­solute film ab­strac­tion wasnt as com­mon in the early 20th cen­tury pushed nar­ra­tive aside, make room for mo­tion, shapes, colours, search of the ab­solute re­la­tion­ship be­tween im­age and sound is ex­plored

film as mod­ernist art loads of dif­fer­ent move­ments in dif­fer­ent coun­tries and things

mod­ernism film is not to be con­fused with hol­ly­wood cin­ema

char­lie chapln mod­ern times mod­ernist con­cepts like man vs ma­chine

fischinger more po­etic

jacques tati play­time

com­mer­cial film dealt with fic­tional re­al­ism, like paint­ing as paint­ing moved on to cu­bism and shit so did film and mu­sic

film was at­trac­tive to move on the avant garde

paul klee came from a mu­si­cal back­ground, had in­flu­ence on fischinger

viking eggling, hans richter, walther ruttman

viking eggling di­ag­o­nal sym­phony

walther ruttman, licht­spiel opus 1, 1921

NOT un­ob­jec­tive art, fischinger pre­ferred ab­solute film ab­solute: fun­da­men­tal op­po­si­tion to the re­al­is­tic, re­pro­d­ict­tive cin­ema, rather look at spir­i­tual world

though th went away from photo re­al­is­tic repre­san­tatin, but were still in­ter­ested in physics, bi­ol­ogy, speed, hu­man ges­ture

hu­man move­ment rather than me­chan­i­cal move­ment

os­car fischinger stud­ies stude 6

5000 draw­ings per movie, never re used a frame char­coal on pa­per as op­posed to af­ter ef­fects and pho­to­shop

syudy no 7

screened across eu­rope, usa, amer­ica hugely pop­u­lar be­cause of syn­cro­ni­sa­tion with mu­sic, be­gan as ads for records, thus first mu­sic videos nazi regime made it more dif­fi­cult

busby berkely very elab­o­rate, hube nu­mer of props and ac­tors

for fischinger artist = au­thor­ship work­ing with raw ma­te­r­ial, bring things back to he prim­i­tive artist as sole au­thor of the work hand­made, craft, rather than col­lab­o­ra­tion

the com­poser of the fu­ture and the ab­solute sound film mu­sic was al­ways just to help the au­di­ence

he wanted to vi­su­al­ize mu­sic with­out sound

or­na­ment sound ex­per­i­ments

i have been able to de­ter­mine … or­na­ments pro­duce sound

or­na­ments are mu­sic

gas­par color film process

com­po­si­tion in blue kreise -> es­sen­tially ads for the film process would later cut off the ad el­e­ment at the end

worked on dis­ney fan­ta­sia

fell out with dis­ney, bc his de­signs were too sim­pli­fied and ab­stract

al­le­gretto (RATA­TOUL­LIE)

in­spired by cal­i­for­nia, art deco, sky­scrap­ers

an op­ti­cal poem (BUGS BUNNY) elements of 3d, done with 2d tools

ra­dio dy­nam­ics vi­sual mu­sic

con­stantly claimed his films were no il­lus­tra­tion of mu­sic

fischinger bran­den­bur­gis­ches con­cert 3 bach di­rectly on­flu­ence by con­tem­po­rary ab­stract paint­ing

went on to do just paint­ing