Abstract
This book has thus far explored the visual music film from a theoretical perspective, focusing firstly on how musical philosophy can be used to underpin the visual music film conceptually and secondly on how philosophical or aesthetic concerns can affect the particular aesthetics and form of the visual music film. However, visual music has always been intrinsically bound to technological experimentation and innovation by individual filmmakers as they strive to express music in visual terms. This chapter will explore the technology employed by individual visual music filmmakers in their craft. Although there are many technical processes used in the creation of visual music films, this section will consider what I have deemed to be three major areas of technical advancement. It will begin with the development of colour processing and the effect that it had on the visual music film (illustrated through the example of Kreise (1933–34) by Oskar Fischinger). Secondly, it will investigate the direct-to-film animation techniques used by Norman McLaren and Len Lye by specifically focusing on Begone Dull Care (1963) by McLaren and A Colour Box (1935) by Lye.
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Notes
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© 2015 Aimee Mollaghan
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Mollaghan, A. (2015). Experimentation and Technological Innovation. In: The Visual Music Film. Palgrave Studies in Audio-Visual Culture. Palgrave Macmillan, London. https://doi.org/10.1057/9781137492821_5
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DOI: https://doi.org/10.1057/9781137492821_5
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