By Augustus Saint-Gaudens
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Extra resources for Augustus Saint Gaudens In The Metropolitan Museum Of Art
The piece loosely follows a couple as they enjoy a Sunday outing before returning to work on Monday morning. Ruttmann’s Â� attempt to create a sound-based narrative allows for a dramatisation of the ubiquitous aspects of daily soundscape, such as footsteps, conversations and whistling, Â� along with the sounds of cash registers, street bands, streetcars and birds. Weekend has sometimes been described in terms of the aestheticisation of urban noise and its organisation within a narrative rhythm, as an experiment to provide a soundtrack that would correspond to Ruttmann’s 1927 Berlin film.
RW3 RW3 Wavelength 1000 broadcasting the march The Last Sunday from the film Symphony of the Donbas’. For the remainder of the film, wireless alerts explain or motivate the action, while also suggesting the importance of radio and loudspeaker connectivity within the Soviet project, with the Internationale reinforcing the idea of being united in song. Similar to Vertov’s earlier shots of the cameraman, here, recording technicians are shown holding mobile microphones. It was only after several months of filming in the Donbas in late 1929 that Vertov returned to Russia for training in Alexander Shorin’s recording system.
00’. , 55’. â•‡ 5â•‡ Nichols, ‘The Voice of Documentary’, in Film Quarterly, 36:3 (1983), 20. â•‡ 6â•‡ Stan Neuman quoted in Capturing Reality, 1’19’’. , 1’19’’. html (accessed 1 September 2013). â•‡9â•‡Agnes Varda quoted in Claudia Gorbman, ‘Finding a Voice: Varda’s Early Â�Travelogues’, in Substance: A Review of Theory and Literary Criticism, 41:2 (2012), 56. 10â•‡ Errol Morris quoted in Capturing Reality, 33’30’’. 11â•‡ John Grierson quoted in Nichols, Introduction to Documentary, 6; Nichols, 13.
Augustus Saint Gaudens In The Metropolitan Museum Of Art by Augustus Saint-Gaudens