{"id":2311,"date":"2019-04-19T21:20:50","date_gmt":"2019-04-19T19:20:50","guid":{"rendered":"https:\/\/teslafm.net\/?page_id=2311"},"modified":"2021-01-23T10:08:26","modified_gmt":"2021-01-23T09:08:26","slug":"el-sonido-en-el-cine-estructural","status":"publish","type":"page","link":"https:\/\/teslafm.net\/en\/el-sonido-en-el-cine-estructural\/","title":{"rendered":"Sound in Structural Cinema"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"2311\" class=\"elementor elementor-2311\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-8fb7563 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"8fb7563\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-da01a3a\" data-id=\"da01a3a\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-095cdcb elementor-widget elementor-widget-heading\" data-id=\"095cdcb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Sound in structural cinema - Albert Alcoz<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-27b993e elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"27b993e\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-24a1a61\" data-id=\"24a1a61\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-e205e5c elementor-widget elementor-widget-spacer\" data-id=\"e205e5c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2be77ee8 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2be77ee8\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-562ceec2\" data-id=\"562ceec2\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-3303710 elementor-widget elementor-widget-text-editor\" data-id=\"3303710\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><iframe src=\"https:\/\/www.mixcloud.com\/widget\/iframe\/?hide_cover=1&amp;feed=%2FTeslafm_net%2Fel-sonido-en-el-cine-estructural-albert-alcoz%2F\" width=\"100%\" height=\"120\" frameborder=\"0\"><\/iframe><\/p>\n<p><span style=\"color: #808080;\">Talk by <strong>Albert Alcoz<\/strong> March 27, 2019 at Ex-Designer Project Bar (Barcelona).<\/span><\/p>\n<p><span style=\"color: #808080;\">In its article <i>\"Structural Film\"<\/i>published in 1969 in the magazine <b>Film Culture<\/b>the American theorist <b>P. Adams Sitney<\/b> analyzes a set of films from <b>Michael Snow<\/b>, <b>Hollis Frampton<\/b>, <b>Paul Sharits<\/b> and <b>Ken Jacobs<\/b>among others, that interrogate the cinematographic medium by questioning its constituent elements. Listening to these films under artistic parameters such as silence, noise, soundscape, the treatment of the voice, the use of repetition and music are some of the strategies proposed to evaluate the auditory aspects of structural cinema.<\/span><\/p>\n<p><span style=\"color: #808080;\">The presentation followed the structure of the book <strong>Filmic resonances. Sound in Structural Cinema (1960-1981)<\/strong> and was combined with the viewing of excerpts from the films discussed:<\/span><\/p>\n<p><span style=\"color: #808080;\"><strong>NOISE<\/strong><i><br><\/i><\/span><span style=\"color: #808080;\"><b>Kurt Kren<\/b>: B\u00e4ume im Herbst (1960)<br><\/span><span style=\"color: #808080;\"><b>Steve Farrer<\/b>Ten Drawings (1976)<br><\/span><span style=\"color: #808080;\"><b>Guy Sherwin<\/b>Musical Stairs (1977)<\/span><\/p>\n<p><strong><span style=\"color: #808080;\"><b>VOICE<\/b><br><\/span><\/strong><span style=\"color: #808080;\"><b>Hollis Frampton<\/b>Critical Mass (1971)<br><\/span><span style=\"color: #808080;\"><b>Paul Sharits<\/b>: S:STREAM:S:S:S:SECTION:S:S:S:ECTION:S:S:ECTIONED (1971)<br><\/span><span style=\"color: #808080;\"><b>Morgan Fisher<\/b>: Picture and Sound Rushes (1973)<\/span><\/p>\n<p><span style=\"color: #808080;\"><b>REPEAT<br><\/b><\/span><span style=\"color: #808080;\"><b>J. J. Murphy<\/b>: Print Generation (1970-74)<br><\/span><span style=\"color: #808080;\"><b>Bill Brand<\/b>Moment (1972)<br><\/span><span style=\"color: #808080;\"><b>Larry Gottheim<\/b>: Four Shadows (1978)<\/span><\/p>\n<p><strong><span style=\"color: #808080;\"><b>SOUND LANDSCAPE<\/b><br><\/span><\/strong><span style=\"color: #808080;\"><b>William Raban<\/b> and <b>Chris Welsb<\/b>and: River Yar (1971)<br><\/span><span style=\"color: #808080;\"><b>Paul Winkler<\/b>Bondi (1979)<br><\/span><span style=\"color: #808080;\"><b>Chris Gallagher<\/b>Seeing In the Rain (1981)<\/span><\/p>\n<p><strong><span style=\"color: #808080;\"><b>SILENCE<\/b><br><\/span><\/strong><span style=\"color: #808080;\"><b>Morgan Fisher<\/b>Projection Instructions (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f07dcb8 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data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MjMyMiwidXJsIjoiaHR0cHM6XC9cL3Rlc2xhZm0ubmV0XC93cC1jb250ZW50XC91cGxvYWRzXC8yMDE5XC8wNFwvQ2FwdHVyYS1kZS1wYW50YWxsYS0yMDE5LTAzLTI2LWEtbGFzLTE3LjM0LjUxLnBuZyIsInNsaWRlc2hvdyI6ImFsbC0wNTI2NjljIn0%3D\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/teslafm.net\/wp-content\/uploads\/2019\/04\/Captura-de-pantalla-2019-03-26-a-las-17.34.51-1024x576.png\" data-width=\"1024\" data-height=\"576\" alt=\"\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"elementor-gallery-item__overlay\"><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<a class=\"e-gallery-item elementor-gallery-item elementor-animated-content\" data-e-gallery-tags=\"0\" href=\"https:\/\/teslafm.net\/wp-content\/uploads\/2019\/04\/Captura-de-pantalla-2019-03-26-a-las-17.34.54.png\" data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"all-052669c\" data-elementor-lightbox-title=\"Captura de pantalla 2019-03-26 a la(s) 17.34.54\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MjMyMywidXJsIjoiaHR0cHM6XC9cL3Rlc2xhZm0ubmV0XC93cC1jb250ZW50XC91cGxvYWRzXC8yMDE5XC8wNFwvQ2FwdHVyYS1kZS1wYW50YWxsYS0yMDE5LTAzLTI2LWEtbGFzLTE3LjM0LjU0LnBuZyIsInNsaWRlc2hvdyI6ImFsbC0wNTI2NjljIn0%3D\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/teslafm.net\/wp-content\/uploads\/2019\/04\/Captura-de-pantalla-2019-03-26-a-las-17.34.54-1024x576.png\" data-width=\"1024\" data-height=\"576\" alt=\"\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"elementor-gallery-item__overlay\"><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-8554320 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"8554320\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-2346986\" data-id=\"2346986\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-cddfa2d elementor-widget elementor-widget-text-editor\" data-id=\"cddfa2d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"color: #808080;\"><strong>Alcoz, Albert, <i>Filmic resonances. <\/i><\/strong><i>Sound in structural cinema (1960-1981)<\/i>. Santander: <b>Shangrila Texts Apart<\/b>, 2017.<\/span><\/p><p><span style=\"color: #808080;\">Exploring the aesthetic and ideological interstices of the sound dimension in experimental cinema is the main motive of this research. In these pages, sound is studied from an analytical position that emphasizes the idiosyncrasy of the filmmakers' acoustic creation processes, the sonic ruptures that their films formulate and the aural challenges they raise for the audience. To substantiate the reasoning, this essay concentrates on a set of films linked to the notion of structural cinema. This controversial category -identified by the North American historian and theoretician <b>P. Adams Sitney<\/b> in the article <i>\"Structural Film\"<\/i>published by the magazine<i><b> Film Culture<\/b><\/i> in 1969- designates works that problematize the cinematographic medium, discussing its constituent elements.<\/span><\/p><p><span style=\"color: #808080;\"><b>Kurt Kren<\/b>, <b>Steve Farrer<\/b>, <b>Guy Sherwin<\/b>, <b>Hollis Frampton<\/b>, <b>Paul Sharits<\/b>, <b>Morgan Fisher<\/b>, <b>Bill Brand<\/b>, <b>J. J. Murphy<\/b>, <b>Larry Gottheim<\/b>, <b>William Raban<\/b>, <b>Chris Welsby<\/b>, <b>Paul Winkler<\/b> and <b>Chris Gallagher<\/b> are the filmmakers invited in a paper that reflects on the sound practices of their films. The formalist constructions, the semantic implications and the listening experiences of works created on celluloid. <i>-on 16 mm support<\/i> are the axes of a written journey whose configuration is defined in three parts. The first chapter detects the shortcomings of the study of sound in cinema while clarifying the theoretical intricacies of structural cinema, the second block pays attention to a selection of films ordered under four headings <i>-Noise, Voice, Repetition, Soundscape.<\/i> and, finally, the conclusion foreshadows the relevance of silence in an eminently resonant artistic discipline.<\/span><\/p><p><span style=\"color: #808080;\">Filmmakers close to the principles of structural cinema question how sounds should be articulated in relation to moving images. To do so, they take up the iconoclastic heritage of the filmic avant-garde of the 1920s, adopt the debates of minimalism and conceptual art of the late 1960s, and incorporate the methodological advances developed within experimental music. A return to the search for filmic specificity is one of the correlates of all this. <\/span><span style=\"color: #808080;\"><b>Filmic resonances<\/b> perceives the validity of structural cinema as a field of filmic experimentation whose sound vibrations are expanding in an unprecedented way.<\/span><\/p><p><span style=\"color: #808080;\"><b>Albert Alcoz<\/b> (Barcelona, 1979) is a filmmaker, researcher, teacher and programmer of experimental film and video creation. D. in Film Theory, Analysis and Documentation from the University of Barcelona. <b>Pompeu Fabra University<\/b> of Barcelona, with a doctoral thesis on sound and structural cinema (2016). Since May 2006 he has been writing the website <b>Visionary Film<\/b>on avant-garde cinema and current experimental cinema. In 2013 he started the Angular project with <b>Alberto Cabrera Bernal<\/b>a DVD publishing label of international experimental cinema. In 2014, together with eight filmmakers, he founded <b>Reversible Laboratory<\/b>an independent laboratory and analog film collective in the city of Barcelona. In 2015 he starts the project Cine an\u00e9mico, a cycle of screenings in super and 16 mm of local filmmakers. Since 2016 he organizes, together with <b>Marcel Pi\u00e9<\/b>, <b>Daniel Pitarch<\/b> and <b>Pep\u00f3n Meneses<\/b>the sessions <b>CANCER<\/b> of experimental film and video. In 2017 he curated the exhibition (Re) visionados, (re) visitados, a re-reading of the beginnings of Spanish video art for the art center. <b>Arts Santa Monica<\/b>. In May 2017 he published his first book, <b>Filmic resonances<\/b>. Sound in Structural Cinema (1960-1981), edited by <b>Shangrila Texts Apart<\/b>.<\/span><\/p><p><span style=\"color: #808080;\">Articles:<\/span><\/p><p><a href=\"https:\/\/www.academia.edu\/33857252\/_Imagen_resonante_El_sonido_en_el_cine_experimental_espa%C3%B1ol_\">https:\/\/www.academia.edu\/33857252\/_Imagen_resonante_El_sonido_en_el_cine_experimental_espa%C3%B1ol_<\/a><\/p><p><a href=\"https:\/\/www.academia.edu\/38372173\/Rese%C3%B1a_a_Alcoz_A._Resonancias_fi_lmicas._El_sonido_en_el_cine_estructural_1960-1981_._En_Comparative_Cinema_no_11_2018_\">https:\/\/www.academia.edu\/38372173\/Rese%C3%B1a_a_Alcoz_A._Resonancias_fi_lmicas._El_sonido_en_el_cine_estructural_1960-1981_._En_Comparative_Cinema_no_11_2018_<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-596eabb elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"596eabb\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-a65d866\" data-id=\"a65d866\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-388ee38 elementor-widget elementor-widget-heading\" data-id=\"388ee38\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The book:<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-12551a9 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"12551a9\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4a9054f\" data-id=\"4a9054f\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-8933935 elementor-widget elementor-widget-text-editor\" data-id=\"8933935\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><blockquote class=\"wp-embedded-content\" data-secret=\"2Ra0HmJ5GJ\"><a href=\"https:\/\/shangrilaediciones.com\/producto\/resonancias-filmicas\/\">Filmic resonances<\/a><\/blockquote><iframe title=\"&quot;Filmic resonances&quot; - Shangrila\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" src=\"https:\/\/shangrilaediciones.com\/producto\/resonancias-filmicas\/embed\/#?secret=2Ra0HmJ5GJ\" data-secret=\"2Ra0HmJ5GJ\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>El sonido en el cine estructural &#8211; Albert Alcoz Charla a cargo de Albert Alcoz el 27 de Marzo de 2019 en Ex-Designer Project Bar (Barcelona). En su art\u00edculo \u00abStructural Film\u00bb, publicado en 1969 en la revista Film Culture, el te\u00f3rico norteamericano P. Adams Sitney analiza un conjunto de pel\u00edculas de Michael Snow, Hollis Frampton, [&hellip;]<\/p>\n","protected":false},"author":19,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2311","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>El Sonido en el Cine Estructural -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/teslafm.net\/en\/el-sonido-en-el-cine-estructural\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El Sonido en el Cine Estructural -\" \/>\n<meta property=\"og:description\" content=\"El sonido en el cine estructural &#8211; Albert Alcoz Charla a cargo de Albert Alcoz el 27 de Marzo de 2019 en Ex-Designer Project Bar (Barcelona). En su art\u00edculo \u00abStructural Film\u00bb, publicado en 1969 en la revista Film Culture, el te\u00f3rico norteamericano P. 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En su art\u00edculo \u00abStructural Film\u00bb, publicado en 1969 en la revista Film Culture, el te\u00f3rico norteamericano P. 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