Jean-Luc Godard ; French ; born 3 December 1930 is a French-Swiss film director, screenwriter and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement, and is arguably the most influential French filmmaker of the post-war era. His work revolutionised the motion picture form through its experimentation with narrative, continuity, sound, and camerawork
During his early career as a film critic for the influential magazine Cahiers du Cinema, Godard criticised mainstream French cinema's Tradition of Quality, which emphasised established convention over innovation and experimentation. In response, he and like-minded critics began to make their own films, challenging the conventions of traditional Hollywood in addition to French cinema. Godard first received global acclaim for his 1960 feature Breathless, helping to establish the New Wave movement. His work makes use of frequent homages and references to film history, and often expressed his political views; he was an avid reader of existential and Marxist philosophy. Since the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, and a Marxist perspective.
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15 track album : основа , Fiver's Stereo , PKWST , Gesumm , Magic Bullet , Yann Pillas , KRIS T REEDER , Martin L Stephenson , Melophobia , KR Seward , Lärmschuz , mUtAntBǝAtniX , Expose Your Eyes , NMTArts , Roland Emile Kuit
The Boreal Electroacoustic Music Society presents ; BEAMS▐ Sonic Projections ; with a mandate is to promote electroacoustic music in Alberta & Eslewhere including : gintas k , skruntskrunt , J Daniel Cramer , byteobserver , SWILL , Dem Dezzies , Mescalin , Phiqual Poynte . Shawn Pinchbeck , Motonogo , Stephen Sereda , Trevor DePagie , Shaun Robert , WayneDeFehr
The multinational contemporary group ensemble 0 changes its personnel based on the pieces it is performing. On Music Nuvolosa, two pieces originally composed for different configurations are arranged for a chamber septet. Pairing works by Pauline Oliveros and György Ligeti might at first seem like a strange choice. However, both were pivotal in the formation of experimental music in the 1950s and 60s, and the pieces presented here work well as a set, revealing contrasts and similarities. The recording was made at La Soufflerie, Rezé, France, and arrangements of the pieces were assembled by Julien Pontvianne and Joël Mérah.
“Horse Sings from Cloud” (1982), by Oliveros, is a twenty-minute meditation comprising slowly evolving drones and overtones. Originally performed solo by Oliveros singing and playing accordion, here “Horse Sings from Cloud” is an incandescent rendition that features winds standing in for overtone singing and a blend of strings and winds taking the accordion chords. Rhythmic punctuation by piano and marimba gives us the sense of the bellows shifts that occur during accordion playing.
Ligeti’s “Musica Ricercata” (1953) anticipates the minimalism that would first appear about five years later in America, yet it contains considerable chromaticism, as well. This early piece is systematic in its additive construction. The first movement uses only two tones, the second three, and so on until the last movement completes the aggregate. The arrangement for Ensemble 0 uses two percussionists playing a number of instruments. Pitched percussion, piccolo and piano give the sonorities a bite. Bells, xylophone and a conjunct melody appearing in multiple registers in the rest of the group affords the second movement a Bartôkian ambience, while the sixth and eighth are reminiscent of Stravinsky. More than one minimalist can be seen to have cribbed from the ostinatos in the third movement, and the fourth provides an off-kilter waltz. In earlier movements, it is fascinating how much can be made with a relatively small complement of pitches.
Few compose laments as moving as those by Ligeti, and the fifth movement, “Lamentoso,” is gripping. The ninth is written in memory of Bartôk, sealing the connection heard earlier; here, lament is offset with emphatic keening. The finale is another homage, this one to the Baroque composer Frescobaldi, a master of early fugal counterpoint. Accordingly, Ligeti creates a ricercare that combines twelve-tone techniques with this earlier style.
Rearranging pieces for larger complements of instruments doesn’t always work, but when it does, as here, it shines new light on composers' inspiration and handiwork.