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Kako se ovoga nisam setio ranije...
BQE - Brooklyn-Queens Expressway - Sufjan Stevens
Sufjanov projekat, koji na kraju ne znam ni sta je... Originalno je bio (eksperimentalni) zivi nastup,
a onda je izdat kao film i soundtrack za taj film... uz neku vrstu stripa (nisam to video, ne znam bas sta je u pitanju).
Uglavnom, veoma kreativan lik, koji svoja dela uvek vezuje za neku lokaciju.. BQE se uklapa ovde u temu.
BQE je interesantan jer je napravljen u prokopu i izgleda kao nekakva reka:
Evo i dela originalnog nastupa:
I malo detaljnije od izdavaca...
BQE - Brooklyn-Queens Expressway - Sufjan Stevens
Sufjanov projekat, koji na kraju ne znam ni sta je... Originalno je bio (eksperimentalni) zivi nastup,
a onda je izdat kao film i soundtrack za taj film... uz neku vrstu stripa (nisam to video, ne znam bas sta je u pitanju).
Uglavnom, veoma kreativan lik, koji svoja dela uvek vezuje za neku lokaciju.. BQE se uklapa ovde u temu.
BQE je interesantan jer je napravljen u prokopu i izgleda kao nekakva reka:


Evo i dela originalnog nastupa:
I malo detaljnije od izdavaca...
First and foremost, The BQE is a self-made home-movie documentation, exhibiting how all the architectural colors of Brooklyn and Queens are fabulously intersected by this ramshackle artery of highway traffic. Shot renegade style on do-it-yourself film cameras, the animated footage of grid-lock crisscrossing the brick and mortar of Brooklyn flickers and cascades Koyaanisqatsi-style on three simultaneous screens. The 16mm cinematography (heroically shot by Reuben Kleiner on a 1960s Bolex) utilizes time-lapse photography, in-camera editing, slow motion, and post-production mirror effects to transform urban blight into a splendor of graphic compositions.
The BQE is also accompanied by an idiosyncratic musical soundtrack (composed by Stevens for band and chamber orchestra), evoking a romanticized musical choreography of perpetual motion vs. gridlock. Borrowing variously from Gershwin, Terry Riley, Charles Ives, and Autechre (to name a few), the music showcases skittish woodwinds wrestling out impressionist articulation (in 7/8) and imperial brass anthems evoking various incarnations of the music of the automobile.
The BQE is also accompanied by an idiosyncratic musical soundtrack (composed by Stevens for band and chamber orchestra), evoking a romanticized musical choreography of perpetual motion vs. gridlock. Borrowing variously from Gershwin, Terry Riley, Charles Ives, and Autechre (to name a few), the music showcases skittish woodwinds wrestling out impressionist articulation (in 7/8) and imperial brass anthems evoking various incarnations of the music of the automobile.
