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78/52 Trailer #1 (2017) | Movieclips Indie

78/52

(via https://www.youtube.com/watch?v=BQEv3PzuO2c)

Crouching Tiger, Hidden Dragon (simplified Chinese: 卧虎藏龙; traditional Chinese: 臥虎藏龍) is a 2000 internationally co-produced martial arts wuxia film. A co-production between China, Taiwan, Hong Kong, and the United States, the film was directed by Ang Lee and featured an international cast of Chinese actors, including Chow Yun-fat, Michelle Yeoh, Zhang Ziyi and Chang Chen. The film was based on the fourth novel, of the same name, in the wuxia book series Crane Iron Pentalogy, by Chinese novelist Wang Dulu. The martial arts and fighting action sequences were choreographed by Yuen Wo Ping, who later directed the English language sequel Crouching Tiger, Hidden Dragon: Sword of Destiny, released in 2016.

The score was composed by Tan Dun, originally performed by Shanghai Symphony Orchestra, Shanghai National Orchestra, and Shanghai Percussion Ensemble. It also features many solo passages for cello played by Yo-Yo Ma. The "last track" (A Love Before Time) features Coco Lee, who later performed it at the Academy Awards. The music for the entire film was produced in two weeks.

It is a project by six filmmakers from around the world who came together to make a film that commemorates the 250th anniversary of Mozart, which will be screened at the same time in November. It is funded by Austria. It does not have to be about Mozart, but it has to have the spirit of Mozart. I see his music to be about miracles and its connection to everyday life. My film will look back at the past in order to see into the future. Just people living life, inhaling and exhaling, meeting each other—these are already miracles. It’s a film about beauty.

(via https://www.youtube.com/watch?v=zPNW2Yo9NRM)

(via https://www.youtube.com/watch?v=AsauJf1-bW0)

(via https://www.youtube.com/watch?v=p16JxNV90SU)

(via https://www.youtube.com/watch?v=-9lnbIGHzUM)

(via https://www.youtube.com/watch?v=iPRaCrb6QKU)

(via https://www.youtube.com/watch?v=z2p-snWM2sk)

Koyaanisqatsi (English pronunciation: /koʊjɑːnɪsˈkɑːtsiː/[3]), also known as Koyaanisqatsi: Life Out of Balance, is a 1982 American experimental film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke.

The film consists primarily of slow motion and time-lapse footage of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. Reggio explained the lack of dialogue by stating "it's not for lack of love of the language that these films have no words. It's because, from my point of view, our language is in a state of vast humiliation. It no longer describes the world in which we live."[3] In the Hopi language, the word Koyaanisqatsi means "unbalanced life".[4] The film is the first in the Qatsi trilogy of films: it is followed by Powaqqatsi (1988) and Naqoyqatsi (2002). The trilogy depicts different aspects of the relationship between humans, nature, and technology. Koyaanisqatsi is the best known of the trilogy and is considered a cult film.[5] However, because of copyright issues, the film was out of print for most of the 1990s.

Gunvor Nelson's entrancing study of her young daughter is not so much a portrait as an invocation. Quicksilver montage make it impossible to discern where one image ends and another begins, richly conveying a fluid sense of a being. As much a work of sound art as a visual poem, the incantatory soundtrack (co-designed by composer Steve Reich) repurposes the childhood game of repeating a word until it turns to nonsense to evoke the enduring mystery of one’s own name (the knife's edge of word and world). -

Max Goldberg

https://www.fandor.com/films/my_name_is_oona

Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of the American modern dance for more than 50 years. He is also notable for his frequent collaborations with artists of other disciplines, including musicians John Cage and David Tudor, and artists Robert Rauschenberg and Bruce Nauman. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance.

As a choreographer, teacher and leader of the Merce Cunningham Dance Company,[2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d’Imobilité, Kimberly Bartosik, Flo Ankah, and Jonah Bokaer.

In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham’s work and the celebration and preservation of his artistic legacy.[3]

Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale, a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France.

Cunningham’s life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company.

(via https://www.youtube.com/watch?v=WzUEvjrIl2M)

(via https://www.youtube.com/watch?v=yMCV61Wa7xM)

The project of the Cunningham Dance Company premiered on July 23, 1965, in New York. Thanks to a production by the Norddeutscher Rundfunk and Sverige Radio Television, a 53-minute film version (1966; dir. Arne Arnborn) of the live performance has been preserved. The main elements are dance, projected image and film material, and sound. The score by John Cage, which regulated the interplay of the media, was decided by the toss of a coin, as was frequently the case in works by Merce Cunningham and Cage at this time. At the end it includes 37 remarks on the structure, the components, and the methodology, noted after the first performance and thus, in Cage’s words, an a posteriori score[1]: more a protocol of the actions carried out than instructions for actions.

The piece is based on the idea of collage in terms of both the inner-media design and the interaction of dance, sound, and film. Cunningham’s choreography dismantles the traditional relationship of dependency between dance and music. The choreographer provocatively calls this a non-relationship.[2] Nevertheless, the movement functions as sound-generator and rhythm-determiner in a relationship to the sound and image of the performance that is at once causal and arbitrary. The sound artists mixing live ultimately retain control over this relationship. The soundscape changes depending on the arrangement of the technical sound and control signal generators (e.g., tape recorders, radio programs, antennas, photo cells, oscillators). For this capability, Cage developed a system together with David Tudor, which enables the movement to influence the sound at two levels: photo cells distributed in the space and directed to the stage lighting serve as light barriers. Sounds are triggered when the dancers cross these barriers. There is a similar situation with a network of antennas placed on the stage, which control sounds when dancers approach them. In addition, almost all of the stage set elements, such as table, chairs, a bicycle, or a plant, are electronically networked and react acoustically to every activation by the dancers. The movement material, which is interrupted by stops in fixed poses, integrates abstract dance sequences as well as everyday gestures and sequences of movements that seem like gymnastic or acrobatic exercises.

The seven dancers in the film version, including Cunningham himself and Carolyn Brown, wear everyday clothing and simple training clothes. Film and slide projectors are used to project the most diverse image material on the back wall of the stage, on screens, and on the bodies of the dancers. The moving images show partly alienated and distorted cartoon sequences, commercials, scenes from feature films, and documentary material (such as the Americans landing on the moon), which were manipulated and collaged by Stan VanDerBeek and Nam June Paik. The film material is also influenced by the motion sensors. As on all the other levels, overlaps and breaks are used. The dance manipulates all the elements of the surrounding media-constructed, audiovisual space.

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