Abstract
The Franco-German TV network ARTE is the only European TV network that has dedicated a regular TV slot to showing early contributions from film history. Its monthly series Stummfilm-Rendezvous has been shown since 1997 by both Arte France and Arte Deutschland, a subsidiary of the two main public German TV networks ZDF (Zweites Deutsches Fernsehen) and ARD (Arbeitsgemeinschaft der öffentlich-rechtlichen Rundfunkanstalten der Bundesrepublik Deutschland). In these broadcasts, ARTE presents film history in its most beautiful form: by showing restored copies from the stock of international film archives. These activities are financially supported by ARTE and offer a wide public access to such films. Thanks to increasingly close cooperation, the channel is able to present trouvailles from film history — for example, films that were thought to have been lost or newly restored film classics as well as rarities which show how innovative and unorthodox early cinema really was.
Wie wir wieder und wieder gesehen haben, verringern Bindungen nicht die Autonomie, sondern fördern sie.1
Die Hoffnung der Pandora, Bruno Latour
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Notes
‘As we have seen again and again, bonds do not reduce autonomy, but they foster it.’ [Translation by the editors of this volume.] Bruno Latour, Die Hoffnung der Pandora (Frankfurt am Main: Suhrkamp 2002): 338.
Christian Kiening and Adolf Heinrich, Der absolute Film. Dokumente der Medienavantgarde (1912–1936) (Zürich: Chronos 2011).
Achim Heidenreich, ‘Zwischen Klanginstallation und Konzert — Der Komponist Bernd Thewes’, MusikTexte 95 (November 2002): 13–18.
Marion Saxer, ‘Komposition im Medienwandel. Operationsketten als kornpositorische Strategien bei Peter Ablinger, Bernd Thewes und Isabel Mundry’, in Christian Utz (ed.) Musiktheorie als interdisziplinäres Fach. 8. Kongress der Gesellschaft flir Musiktheorie Graz 2008 (musik.theorien der gegenwart 4) (Saarbrücken: Pfau, 2010): 481–495.
For details on the cultural-historical meaning of Richter’s films, see Christoph Bareither (ed.), Hans Richters ‘Rhythmus 21’: Schlüssel film der Moderne (Würzburg: Königshausen & Neumann, 2012).
For other examples for composing with intermodal irritations, see Marion Saxer, ‘Komponierte Sichtbarkeit. Intermodale Strategien in Annesley Blacks Video-Komposition 4238 De Bullion für Klavier solo und live-elektronische Klang- und Videobearbeitung (2007/2008)’, in Marion Saxer (ed.) Mind the Gap! Medienkonstellationen zwischen zeitgenössischer Musik und Klangkunst (Saarbrücken: Pfau, 2011): 50–66.
The terms ‘in-time structure’ and ‘outside-time structure’ stem from Iannis Xenakis’s elaborations on musical architecture and categories. Iannis Xenakis, Formalized Music. Thought and Mathematics in Composition. 2nd revised English Ed. Harmonologia Series 6 (Stuyvesant, NY: Pendragon Press, 1992).
Jay David Bolter and Richard Grusin, Remediation. Understanding New Media (Cambridge, MA: MIT Press, 2000): 272.
Philip Auslander, Liveness: Performance in a Mediatized Culture (New York: Routledge, 2008).
Jonathan Sterne, MP3: The Meaning of a Format (Durham: Duke University Press, 2012): 9.
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© 2014 Marion Saxer
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Saxer, M. (2014). Paradoxes of Autonomy: Bernd Thewes’s Compositions to the Rhythmus-films of Hans Richter. In: Tieber, C., Windisch, A.K. (eds) The Sounds of Silent Films. Palgrave Studies in Audio-Visual Culture. Palgrave Macmillan, London. https://doi.org/10.1057/9781137410726_12
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DOI: https://doi.org/10.1057/9781137410726_12
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