Peter Greenaway. The Slavery of Music and Sound. 2002 1/5

http://www.egs.edu/ Peter Greenaway, director, filmmaker and composer talking about the relationship of music, sound, image, film, and cinema; films without sound, silent films, the slavery of music and the perfect symbiosis between creator, director, filmmaker, musician, and composer. Peter Greenaway speaking about his collaboration with Michael Nyman, the dictatorship of picture or sound, the pleasure principle, sampling and the slavery of music, misery and suspense. Open video lecture of director Peter Greenaway at European Graduate School EGS. Media and Communication Studies Program Department. Saas-Fee Switzerland 2002. Peter Greenaway.

Peter Greenaway, CBE born 5 April 1942 is a Welsh-born English film director. Peter Greenaway was born in Newport, Monmouthshire, Wales, and grew up in Essex, England. His family left South Wales when he was three years old. At an early age Greenaway decided on becoming a painter. He became interested in European cinema, focusing first on that of Bergman, and then on French Nouvelle Vague film-makers such as Godard, and most especially Resnais.

Peter Greenaway shot the following shorts: Death of Sentiment 1962, 8 min, Tree 1966, 16 min, Train 1966, 5 min, Revolution 1967, 8 min, 5 Postcards From Capital Cities 1967, 35 min, Intervals 1969, 7 min, Erosion 1971, 27 min, H Is for House 1973, 10 min, Windows 1975, 4 min, Water Wrackets 1975, 12 min, Water 1975, 5 min, Goole by Numbers 1976, 40 min, Dear Phone 1978, 17 min, Vertical Features Remake 1978, 45 min, A Walk Through H: The Reincarnation of an Ornithologist 1978, 41 min, 1-100 1978, 4 min, Making a Splash 1984, 25 min, Inside Rooms: 26 Bathrooms, London & Oxfordshire 1985, 26 min, Hubert Bals Handshake 1989, 5 min, Rosa 1992, 15 min, Lumière et compagnie fragment "Peter Greenaway", 1996, 55 sec, The Bridge 1997, 12 min, The Man in the Bath 2001, 7 min, Visions of Europe fragment "European Showerbath", 2004, 5 min.

Director Peter Greenaway pruduced the following films: The Falls 1980, 185 min, The Draughtsman's Contract 1982, 103 min, A Zed & Two Noughts 1985, 115 min, The Belly of an Architect 1987, 120 min, Drowning by Numbers 1988, 118 min, The Cook, the Thief, His Wife & Her Lover 1989, 123 min, Prospero's Books 1991, 129 min, The Baby of Mâcon 1993, 122 min, The Pillow Book 1996, 126 min, 8½ Women 1999, 118 min, The Tulse Luper Suitcases, Part 1: The Moab Story 2003, 127 min, The Tulse Luper Suitcases, Part 2: Vaux to the Sea 2003, 108 min, The Tulse Luper Suitcases, Part 3: From Sark to the Finish 2003, 120 min, Nightwatching 2007, Untitled Old Testament Project, Augsbergenfeld TBA, 55 Men on Horseback.

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• musician
• slavery
• music
• sound
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[CohanDigitmatta]

why are those kids so damn rude?

[indrancole3]

Christ I wish someone as talented as this wonderful director could be my lecturer. Maybe I'd manage to pay attention.

[jdavz322]

@indrancole3

Amen.  Greenaway is overlooked for many reasons. Being too over the top being the most common complain I've heard. I think his films force the viewer to examine themselves as well as their immediate surroundings. Mot always a comfortable experience, I suppose. That alone, though, ought to tell people something about themselves and their immediate surroundings.

[Clivepom]

totally agree with him.

[FuriousBataille]

I just went from watching a few minutes of John Cage talking about sound to this, what a coincidence. I really enjoy that as he talks about sounds not directly connected to early movies there is a lot of sound in the background