Orient-Occident de Fulchignoni-Xenakis: análise da relação entre música e imagem

Makis Solomos; André Villa

doi:10.35699/2317-6377.2022.48275

Authors

Makis Solomos Université Paris 8 https://orcid.org/0000-0003-3804-2620
André Villa Université Paris 8 https://orcid.org/0000-0001-9146-473X

DOI:

https://doi.org/10.35699/2317-6377.2022.48275

Keywords:

Xenakis, Orient-Occident, Electroacoustic music, Soundtrac

Abstract

The film Orient-Occident, directed by Enrico Fulchignoni with music by Iannis Xenakis (not yet commercially available) is, in general, only mentioned through the homonymous concert version of Xenakis's music. This unavailability of the cinematographic work is regrettable, firstly because it is a documentary with excellent content and excellent visual quality and, secondly, because it demonstrates Xenakis' extraordinary capacity for sonic imagination. This imagination expresses itself through musical (compositional) ideas, but also through the way Xenakis illustrates and comments on the film’s images. The article studies film as such for the first time and its music through the relationship between music and image.

Downloads

Download data is not yet available.

Author Biographies

Makis Solomos, Université Paris 8

Born in Greece and living in France, Makis Solomos is Professor of musicology at the University Paris 8 and director of the research team MUSIDANSE. He has published many books and articles about new music. His book From Music to Sound. The Emergence of Sound in 20th- and 21st-Century Music (Routledge, 2019) deals with an important mutation of today’s music. He is also one of the main international specialists of Xenakis’ music. He co-organized the Xenakis 22: Centenary International Symposium and he edited Révolutions Xenakis (Philharmonie / Éditions de l’Œil, 2022). He is finishing a new book, Habiter (avec) / Dwelling (with) Xenakis. Since some years, he is working on sound ecology; he has just published Exploring the Ecologies of Music and Sound. The Living, the Mental and the Social in today’s Music, Sound Art and Artivisms (Routledge, 2023), and he is working now on the idea of degrowth.

André Villa, Université Paris 8

Musician, composer, arranger and sound designer, Villa has worked for more than 8 years on the Cinema and Audiovisual Course at UFPa (Brazil). Since 2022 he is professor in the Music department at the University Paris 8 – Vincennes-Saint-Denis where he gives classes in computer-assisted composition as well as in musical composition and its relations to other arts. He is part of the MUSIDANCE research team Laboratory at Paris 8 University. As a researcher, he has been working on questions about the use of music as a narrative resource in audiovisual works and in interactive set-ups.

References

Andersson, Barry. 2015. The DSLR Filmmaker’s Handbook, Indianapolis, Indiana: John Wiley & Sons, Inc.

Block, Bruce. 2014. Composer ses images pour le cinéma. Paris: Eyrolles.

Chanan, Michael. 2007. “Rouch, Music, Trance.” In Building Bridges: The Cinema of Jean Rouch, editado por Joram ten Brink. 87-95. Londres: Wallflower.

Chion, Michel. 2003. Pierre Henry. Paris: Fayard.

Delalande, François. 1997. “Il faut être constamment un immigré”. Entretiens avec Xenakis. Paris: Buchet-Chastel/INA-GRM.

Freire, Marcius. 2011. Documentário: ética, estética e formas de representação. São Paulo: Annablume.

Fulchignoni, Enrico. 1981. “Sur Orient-Occident”. In Regards sur Iannis Xenakis, 257-262. Paris: Stock.

Gauthier, Guy. 1995. Le documentaire, um autre cinéma. Paris: Nathan.

Graff, Séverine. 2011. “ ‘Cinéma-vérité’ ou ‘cinéma direct’: hasard terminologique ou paradigme théorique ?”, Décadrages 18: 31-46. doi: https://doi.org/10.4000/decadrages.215

Guillaume, Paul. 1979. Psychologie de la forme. Paris: Flammarion.

Harley, James. 2002. “The Electroacoustic Music of Iannis Xenakis”. Computer Music Journal 6 (1): 33-57.

Jay, Emmanuelle. 2020. Le montage - Technique et esthétique: fiction, documentaire, série, nouvelles écritures. Malakoff: Armand Colin.

Lindenmuth, Kevin J. 2011. Réaliser son premier documentaire. Paris: Eyrolles.

Revault d’Allonnes, Fabrice. 1991. La Lumière au Cinéma. Paris: Éditions Cahiers du Cinéma.

Schaeffer, Pierre; Reibel, Guy; Ferreyra, Beatriz. 1967 (1998). Solfège de l’objet sonore. Trois microsillons d’exemples sonores illustrant le Traité des objets musicaux et présentés par l’auteur. Paris: INA-GRM, 1967.

Solomos, Makis. 2009. “Orient-Occident. From the film version to the concert version”. In Iannis Xenakis: Das elektroakustische Werk, editado por Ralph Paland, Christoph von Blumröder, 118-134. Viena: Verlag Der Apfel, Signale aus Köln 14.

Villain, Dominique. 1984. L’œil à la caméra. Paris: Éditions de l’Etoile.

Xenakis, Iannis. 1992. Formalized Music. Stuyvesant: Pendragon Press.

_________________. 1997. Electronic Music. EMF/INA-GRM, EMF CD 003.

_________________. 2008. Electronic music 2: Polytope de Cluny, Hibiki Hana Ma, Neg-ale for “Vasarely”. Mode Records, mode 203.

Orient-Occident by Fulchignoni-Xenakis

analysing the relationship between music and image

Authors

DOI:

Keywords:

Abstract

Downloads

Author Biographies

Makis Solomos, Université Paris 8

André Villa, Université Paris 8

References

Downloads

Published

How to Cite

Issue

Section

License