La Polizia sta a Guardare -open credits- soundtrack by Stelvio Cipriani-


Stelvio Cipriani (born 20 August 1937 in Rome), is an Italian composer, mostly of motion picture soundtracks.

Though not coming from a musical background, as a child Cipriani was fascinated by his church’s organ. His priest gave him his first music lessons and encouraged Cipriani and his family. Cipriani passed his examinations and studied at Santa Cecilia Conservatory from the age of 14, then played on cruise ship bands,[1] that enabled him to meet Dave Brubeck. Upon return to Italy he accompanied Rita Pavone on piano.[2]

His first soundtrack was the spaghetti western El Precio de un Hombre/The Bounty Killer (1966) followed by a well known score for Un Uomo, uno caballo, una pistola/The Stranger Returns/Shoot First Laugh Last (1967) starring Tony Anthony; Cipriani later composed other spaghetti western scores with Anthony.

Cipriani became prolific in the Italian film world and was awarded a Nastro d’Argento for Best Score for The Anonymous Venetian (film) (1970).

In a 2007 interview, Cipriani said that he had composed music for Pope John Paul II and was currently working with Pope Benedict XVI.[1]

One of Cipriani’s most famous scores is from “La Polizia Sta a Guardare“. The main theme was recycled by Cipriani for the score for Tentacoli and was brought to the public’s attention again in 2007 when it was featured in Quentin Tarantino‘s Death Proof.

Cipriani’s scores for the films of the “La Polizia…” series were different arrangements over the same theme. Some of those themes were used in the soundtrack of the couple Hélène Cattet & Bruno Forzani‘s first feature Amer.”

from : http://en.wikipedia.org/wiki/Stelvio_Cipriani

Discography:

http://www.discogs.com/artist/Stelvio+Cipriani

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SPACE IS THE PLACE produced by Jim Newman, directed by John Coney, written by Sun Ra


Space Is the Place is an 82-minute film made in 1972 and released in 1974. [1] [2] It was produced by Jim Newman, directed by John Coney, written by Sun Ra, Joshua Smith and features Sun Ra and his Arkestra. A soundtrack for the film was released on Evidence Records.

Originally released in 1974, Sun Ra’s odd neoblaxploitation sci-fi semirockumentary, Space is the Place, is a film about time, history, and black America. It is the cinematic realization of Ra’s cosmic harmonic consciousness linked to a searing indictment of the political and social realities of the African American urban experience.

The film opens on a spaceship moving slowly through the cosmos, while the soundtrack repeatedly intones, “It’s after the end of the world. Don’t you know that yet?” We then see the time-travelling Sun Ra wandering through a dense psychedelic forest of bizarre flora and fauna on a new and distant planet that, he decides, is the perfect place for the relocation of black America. In order to effect the dramatic transformation, Ra says: “the first thing to do is to consider time as officially ended. We’ll work on the other side of time.” Arriving in present-day (early-1970s) Oakland, Ra begins this work. Framed by apocalyptic notions of the end of times and, indeed, the end of history, the basic premise of the film is that the mystic trickster Sun Ra (playing himself) must battle with his malevolent counterpart, the white-suited Overseer (Ray Johnson), to win the soul of black America. It is a card game played in a desert wasteland that will decide the fate of the negro. Ra must simultaneously convince young African Americans that they should abandon earth and leave with him for the new planet. Having been kidnapped and tortured by the FBI and then dramatically rescued, Ra performs a special concert in the film’s climax from which the black audience members vanish one by one only to then reappear on Ra’s spaceship. As the ship takes off and disappears into space, the prophesied destruction of earth is relayed on video monitors to its occupants.

Characteristic of much of Sun Ra’s work, this mélange of genre and style locates music at the center of the black cultural experience as it offers a combination of critical social analysis and programmatic utopianism. Though characterized by the relatively low production values of independent film, Space is the Place also articulates many of the countercultural narratives and aesthetics of a number of mainstream films and TV series of the period such as Barbarella (1968), 2001: A Space Odyssey (1968), Performance (1970), and NBC’s Star Trek (1966–69). There is, as well, an undeniably cartoonish element that gestures just as surely towards the Beatles’s Yellow Submarine (1968) and Sid and Marty Kroft’s H.R. Pufnstuf (1970). However, a much closer aesthetic and narrative analog is Ishmael Reed’s 1972 novel Mumbo Jumbo which similarly collapses time and history as it locates the origins of black American culture in pharaonic Egypt. Indeed, Afrocentric tropes dominate Space is the Place visually and ideologically, as ancient Egyptian motifs are merged with Aquarian notions of rebirth, a Garveyite desire to return African Americans to the “homeland,” and extant black nationalist politics embodied in the Black Panthers and the radical politics of late-1960s Oakland.

Within Space is the Place, blacks are victims not only of white racist power structures (as embodied in two government agents and their employment of surveillance, coercion, and violence), but also of black-on-black exploitation as embodied in the Overseer, a kind of cosmic über-pimp who drives the Oakland streets in a bright red Cadillac supplying drugs, prostitutes and—most crucially—false consciousness. Arriving at a youth club Sun Ra tries to impress upon the kids that they are “not real” because, notwithstanding the images of Huey Newton, Bobby Seale, Angela Davis, Eldridge Cleaver, and Malcolm X that cover the walls of the club, they “have no music that is in coordination with their spirits.” Though liberation can come only from the disruption of white time and history, it is music that will function as the principal medium through which consciousness will be raised. However, this utopian future will never be realized on earth. It is from space where Sun Ra has arrived and it is to space he will return bearing those he has rescued […]

Space is the Place (review)

From: Black Camera
Volume 1, Number 2, Summer 2010 (The New Series)
pp. 164-166 | 10.1353/blc.0.0028

http://muse.jhu.edu/journals/blc/summary/v001/1.2.wall.html

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Len Lye: Swinging the Lambeth Walk


“Swinging the Lambeth Walk (1939), a four-minute, hand-painted Dufaycolor film ‘with a colour accompaniment by Len Lye‘, matches visual motifs to musical instruments: diagonals introduce piano phrases, circles express drum beats, wavy horizontals represent guitars licks, vertical lines map base parts, etc. Primary red, blue and deep green colour fields are rendered frameless by upwardly cascading kite shapes, luminous tapered stripes, and batik-like patterns.” (Brett Kashmere http://sensesofcinema.com/2007/great-directors/lye/)

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THE UNKNOWN KNOWN- Errol Morris’s New Documentary on Donald Rumsfeld


In THE UNKNOWN KNOWN, Academy Award-winning director Errol Morris (THE FOG OF WAR) offers a mesmerizing portrait of Donald Rumsfeld, the larger-than-life figure who served as George W. Bush’s secretary of defense and as the principal architect of the Iraq War.

Rather than conducting a conventional interview, Morris has Rumsfeld perform and explain his “snowflakes” — the enormous archive of memos he wrote across almost fifty years in Congress, the White House, in business, and twice at the Pentagon. The memos provide a window into history — not as it actually happened, but as Rumsfeld wants us to see it.

By focusing on the “snowflakes,” with their conundrums and their contradictions, Morris takes us where few have ever been — beyond the web of words into the unfamiliar terrain of Rumsfeld’s mind. THE UNKNOWN KNOWN presents history from the inside out. It shows how the ideas, the fears, and the certainties of one man, written out on paper, transformed America, changed the course of history — and led to war.

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LIVE VISUALS – LeoNardo eLectroNIc aLmaNac, VoLume 19 ISSue 3


Live visuals have become a pervasive component of our contemporary lives; either as visible interfaces that re-connect citizens and buildings overlaying new contextual meaning or as invisible ubiquitous narratives that are discovered through interactive actions and mediating screens.The contemporary re-design of the environment we live in is in terms of visuals and visualizations, software interfaces and new modes of engagement and consumption. This LEA volume presents a series of seminal papers in the •field, o–ffering the reader a new perspective on the future role of Live Visuals.

LIVE VISUALS

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ZOMBIE ZOMBIE Driving Clip Simon Gesrel Xavier Ehretsmann GI Joe


First video clip made for Zombie Zombie, the electrifying French duo of Etienne Jaumet and Cosmic Neman. Directed by Simon Gesrel and Xavier Ehretsmann thanks to their favourite toys… the GI Joes ! The video is an hommage to the director AND soundtrack composer John Carpenter, especially one of his masterpieces : THE THING.

Best Photography Award – GI Joe Fest 2008, 2nd GI Joe stop motion film Festival, Denver, CO. USA

Audience Award & Best Technical Quality Award – Protoclip 2008, 4th Sevres’ international independent video clip Festival, France.

more links:

https://soundcloud.com/zombie-zombie

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Inauguration of the Pleasure Dome – Kenneth Anger


Directed by Kenneth Anger.
US 1954, 16mm, color, 38 min.

Anger’s astonishing masterpiece unfolds a constellation of imagined gods choreographed by Anger and drawn from one of the legendary “Come As Your Madness” costume galas hosted by the silent film actor and reclusive impresario Samson De Brier in his Hollywood mansion. Featuring Anais Nin, Curtis Harrington and De Brier himself among the self-fashioned deities and demons, Inauguration was reworked several times by Anger, once as a dazzling three screen version which he then condensed to the Sacred Mushroom version seen here by brilliantly using superimposition to create complex mandala-like images.

For more information:
Kenneth Anger’s Magick Lantern Cycle

http://hcl.harvard.edu/hfa/films/2010octdec/anger.html

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