Oskar Fischinger - Wikipedia. Oskar Wilhelm Fischinger (2. June 1. 90. 0 . He created special effects for Fritz Lang's 1. Woman In The Moon, one of the first sci- fi rocket movies. He made over 5. 0 short films, and painted around 8. Among his film works is Motion Painting No. National Film Registry of the U. S. Library of Congress. Biography. The next year he worked as a draftsman in an architect's office, until he too was called to duty. However, since he was too 'unhealthy', he was rejected from combat duty. After the war, the Fischinger family moved west to Frankfurt. There Fischinger attended a trade school and worked as an apprentice, eventually obtaining an engineer's diploma. Early career. Inspired by Ruttmann's work, Fischinger began experimenting with colored liquids and three- dimensional modelling materials such as wax and clay. Fischinger wrote to Ruttmann about his machine, who expressed interest. Moving to Munich, Fischinger licensed the wax slicing machine to Ruttmann, who used it to make some backgrounds for Lotte Reiniger's Prince Achmed film. During this time Fischinger shot many abstract tests of his own using the machine. Some of these are distributed today under the assigned title Wax Experiments. In 1. 92. 4, Fischinger was hired by American entrepreneur Louis Seel to produce satirical cartoons that tended toward mature audiences. He also made abstract films and tests of his own, trying new and different techniques, including the use of multiple projectors. These shows were titled Fieber (Fever), Vakuum, Macht (Power) and later, R- 1 ein Formspiel. Finally, in an effort to escape bill collectors, Fischinger decided to surreptitiously depart Munich for Berlin in June 1. Taking only his essential equipment, he walked 3. Walking from Munich to Berlin. Arriving in Berlin, Fischinger borrowed some money from a relative and set up a studio on Friedrichstra. He soon was doing the special effects for various films. His own proposals for cartoons were not accepted by producers or distributors, however. On his own time, he experimented with charcoal- on- paper animation. He produced a series of abstract Studies that were synchronized to popular and classical music. A few of the early Studies were synchronized to new record releases by Electrola, and screened at first- run theatres with a tail credit advertising the record, thus making them, in a sense, the very first music videos. The Studies . Some of the Studies were distributed to theatres in Japan and the US. In 1. 93. 1, Universal Pictures purchased distribution rights to Studie Nr. Kreise (1933) - informacje o filmie w bazie Filmweb.pl. Oceny, recenzje, obsada, dyskusje wiadomo 1933: 140.409: 1939: 141.234: 1950: 189.006: 1960: 223.900: 1970: 226.400: 1973: 237.400. Oskar Fischinger; Born: Oskar Wilhelm Fischinger 22 June 1900 Gelnhausen, German Empire: Died: 31 January 1967 (aged 66) Los Angeles, California, U.S. Schaller: Gau Bayerische Ostmark (1933-1945): Ideologischer Anspruch – politische Wirklichkeit und Aufarbeitung. American public, and Studie Nr. Berlin, and many other cities worldwide. Kreise, Ortsgruppen, Zellen und - als kleinste. Oskar.Fischinger.-.Kreise.1933.DVDRip.XviD-CiNEMAGROTESQUE Oskar.Fischinger.-.Kreise.1933.DVDRip.XviD-CiNEMAGROTESQUE Oskar.Fischinger The special effects Fischinger did for other movies led to his being called . In 1. 93. 2, Fischinger married Elfriede Fischinger, a first cousin from his hometown of Gelnhausen. As the Nazis consolidated power after 1. Nazis instituted their policies against what they termed . His brother Hans Fischinger showed his absolute film . The Dance of Colors) in Hamburg in 1. Oskar Fischinger continued to make films, and also found work producing commercials and advertisements, among them Muratti Greift Ein (translated as Muratti Gets in the Act, or Muratti Marches On) (1. Kreise (Circles) (1. The color Muratti commercial with its stop- motion dancing cigarettes screened all over Europe. Though Fischinger at times ran afoul of the Nazi authorities, he managed to complete his abstract work Komposition in Blau in 1. It was well- received critically, and contrary to popular myth, was legally registered. An agent from Paramount Pictures telephoned Fischinger, asking if he was willing to work in America, and Fischinger promptly agreed. Hollywood. He and Elfriede socialized with the . As he waited for his assignment to begin, Fischinger sketched and painted. This short film was planned for inclusion in the feature film The Big Broadcast of 1. However, Paramount only planned to release in black- and- white film, which was not communicated to Fischinger when he began his work. Paramount would not allow even a test in color of Fischinger's film. Fischinger requested to be let out of his contract and left Paramount. Several years later, with the help of Hilla von Rebay and a grant from the Museum of Non- Objective Painting (later The Guggenheim), he was able to buy the film back from Paramount. Fischinger then redid and re- painted the cels and made a color version to his satisfaction which he then called Allegretto. This became one of the most- screened and successful films of visual music's history, and one of Fischinger's most popular films. Most of Fischinger's filmmaking attempts in America suffered difficulties. He composed An Optical Poem (1. Franz Liszt's Second Hungarian Rhapsody for MGM, but received no profits due to studio bookkeeping systems. Bach. Toccata and Fugue in D Minor sequence for Walt Disney's Fantasia (1. Disney altered his designs to be more representational. According to William Moritz, Fischinger contributed to the effects animation of the Blue Fairy's wand in Pinocchio (1. Secretly, Fischinger composed the silent movie Radio Dynamics (1. Frustrated in his filmmaking, Fischinger turned increasingly to oil painting as a creative outlet. Although the Guggenheim Foundation specifically requested a cel animation film, Fischinger made his Bach film Motion Painting No. Although he never again received funding for any of his personal films (only some commercial work), the Motion Painting No. Grand Prix at the Brussels International Experimental Film Competition in 1. Three of Fischinger's films also made the 1. Olympiad of Animation's list of the world's greatest films. Fischinger died in Los Angeles in 1. A great deal of inaccurate information continues to be published about Fischinger, largely taken from decades- old sources, often repeated online. Lumigraph. Like other inventors of color organs, Fischinger hoped to make the Lumigraph a commercial product, widely available for anyone, but this did not happen. The instrument produced imagery by pressing against a rubberized screen so it could protrude into a narrow beam of colored light. As a visual instrument, the size of its screen was limited by the reach of the performer. Two people were required to operate the Lumigraph: one to manipulate the screen to create imagery, and a second to change the colors of the lights on cue. The device itself was silent, but was performed accompanying various music. Fischinger gave several performances in Los Angeles and one in San Francisco in the early 1. In 1. 96. 4 the Lumigraph was used in the science fiction film The Time Travelers, in which it became a 'lumichord', although this was not Fischinger's intent, but the decision of the film's producers. Fischinger's son Conrad even built two more machines in different sizes. After his death, his widow Elfriede and daughter Barbara gave performances with the Lumigraph, along with William Moritz, in Europe and the US. Today one of the instruments is in the collection of the Deutsches Filmmuseum in Frankfurt, and the other two are in California. In February 2. 00. Barbara Fischinger performed on the original Lumigraph in Frankfurt. Film and video documentation of Elfriede's Lumigraph performances are at the Center for Visual Music in Los Angeles. Art Work. CVM also has the papers of Elfriede Fischinger and Fischinger's biographer Dr. The Fischinger Trust in California administers Fischinger's paintings, and their official art dealer representing the painting estate is Peyton- Wright Gallery, Santa Fe. The Academy Film Archive has preserved a number of Oskar Fishinger's films, including . Oskar Fischinger (1. Experiments in Cinematic Abstraction. Published by EYE Film Museum and Center for Visual Music, 2. Available through Thames & Hudson. Moritz, William (2. Optical Poetry: The Life and Work of Oskar Fischinger. Bloomington: IN: Indiana university press. The Importance of Being Fischinger. Ottawa International Animated Film Festival (program), 1. Oskar Fischinger Biography at the Official Fischinger Research Site. Keefer, Cindy. Raumlichtmusik - Early 2. Century Abstract Cinema Immersive Environments PDF. Leonardo Electronic Almanac, 2. Klein, Adrian Bernard, 'Coloured Light An Art Medium' 3rd ed. The Technical Press, London, 1. Fischinger)Rimington, Alexander Wallace, 'Colour- Music The Art Of Mobile Colour' Hutchinson, London, 1. Fischinger)External links.
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