GG: Moovic? Musies? On Blending Art Forms

["Peters/Podlesnik" <veronese@jerseycape.com>]

Hi all:

Thanks for your responses. I agree with all of your choices. Sheryl, yes, I
know the Kieslowski color trio. Of course, for GG, the title of the film
would have to be "Battleship Gray". Maybe "Nocturne in Neutrals"? 

Cyndie, you opened a fine kettle ... when you suggested GG's own
compositions. How do we find a counterpart (no pun intended) to the
elaborate and humorous "So You Want to Write a Fugue?"

John, yes, yes, yes. I'm aware of GG's interest in using mic placement as
analog to camera placement. Yep, and a listen to his Sibelius Sonatinas (as
well as his Scriabin sonatas) will confirm this. In addition, we know that
he took full advantage of the (filmic) "take-twoness" of the recording
experience.

For me, the closest I can come would have to be the films of the
experimental filmmaker Bruce Baillie -- I'm thinking of his film "Castro
Street" (1966), in particular -- with its shifting rhythms, extensive
overlapping of images and sounds unfolding in time. I agree, Eisenstein was
perhaps film hisory's most sensitive cinema 'musician'. As one author
(Gerald Mast) put it, " ...he is as concerned with weaving a 'musical'
spell with his editing as he is in producing intellectual recognition and
political results."

Regards,

Joseph