Relevant bibliographies by topics / Michael Snow

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Michael Snow'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Michael Snow"

1

MacDonald, Scott. ": So Is This . Michael Snow." Film Quarterly 39, no. 1 (October 1985): 34–37. http://dx.doi.org/10.1525/fq.1985.39.1.04a00090.

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Polan, Dana. "The Michael Snow Project Publication Series: Visual Art, 1951-1993: Exploring Plane and Contour . Dennis Reid, Philip Monk, Louise Dompierre. ; Music/Sound, 1948-1993 . Michael Snow. ; The Collected Writings of Michael Snow . Michael Snow." Film Quarterly 49, no. 3 (April 1996): 55–57. http://dx.doi.org/10.1525/fq.1996.49.3.04a00110.

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Polan, Dana. "The Michael Snow Project Publication Series." Film Quarterly 49, no. 3 (1996): 55–57. http://dx.doi.org/10.2307/1213475.

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Elder, R. Bruce. "Michael Snow: Wavelength (review)." University of Toronto Quarterly 80, no. 2 (2011): 285–87. http://dx.doi.org/10.1353/utq.2011.0123.

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MacDonald, Scott. "Review: So Is This by Michael Snow." Film Quarterly 39, no. 1 (1985): 34–37. http://dx.doi.org/10.2307/1212281.

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Karl, Alexandra. "Score for Wavelength. An Homage to Michael Snow." ASAP/Journal 4, no. 3 (2019): 510–16. http://dx.doi.org/10.1353/asa.2019.0035.

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Beilenhoff, Awolfgang. "Worte: Verfilmt - So Is This (Michael Snow, 1982)." Maske und Kothurn 53, no. 2-3 (September 2007): 385–98. http://dx.doi.org/10.7767/muk.2007.53.23.385.

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McElhone, John P. "Michael Snow’s Authorization: Materials and Preservation / Autorisation de Michael Snow. Matériaux et conservation." National Gallery of Canada Review 7 (May 2016): 89–96. http://dx.doi.org/10.3138/ngcr.7.mcelhone.

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O'Rourke, Michael, and Michael Auren. "Closure to “Snow Loads on Gable Roofs” by Michael O'Rourke and Michael Auren." Journal of Structural Engineering 125, no. 4 (April 1999): 471. http://dx.doi.org/10.1061/(asce)0733-9445(1999)125:4(471).

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Delattre, Elisabeth. "Michael Longley’s Poetry of the Elements in Snow Water." Estudios Irlandeses, no. 6 (March 15, 2011): 1–7. http://dx.doi.org/10.24162/ei2011-1951.

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Dissertations / Theses on the topic "Michael Snow"

1

Schirmer, Michael [Verfasser]. "Modelling avalanche danger and understanding snow depth variability / Michael Schirmer." Aachen : Hochschulbibliothek der Rheinisch-Westfälischen Technischen Hochschule Aachen, 2011. http://d-nb.info/1018206132/34.

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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.
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Lareo, Fernández Eva. "Michael Snow & Cía : Visiones y revisiones. El cine reflexivo y la expansión de las artes." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/130825.

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El objeto de esta tesis es profundizar en los cambios y transformaciones acontecidas en el seno de las artes visuales en la década de los sesenta y setenta y, para ello, hemos partido de un caso concreto que nos ha permitido vehicular esta expansión de unas prácticas que no responden ya a la especificidad de los medios convencionales sino a una amalgama de técnicas e imágenes que incluyen el cine, la fotografía, objetos y una infinidad de nuevos soportes que obligan a una redefinición de conceptos, valores y funciones que el arte ha asumido. No obstante, el objeto de estudio no trata de abarcar la totalidad común del arte de este periodo sino simplemente las características más generales del mismo o de un fragmento del mismo. Por tanto, el caso concreto de Michael Snow, que adquiere una presencia destacada en estas páginas, se debe a que sus trabajos se sitúan es ese espacio indefinido y de transformación en el que la relación del arte para con la técnica y las nuevas tecnologías, es expresión de un nuevo sentimiento y de una nueva manera de aprehender el mundo.
The objective of this thesis is to go deeper into the changes and transformations within the core of visual arts in the decades of the sixties and seventies. We have begun from a specific case which has enabled us to explore the expansion of practices which don’t respond now to the specifications of more conventional means but to a melting-pot of techniques and images including the cinema, photography and an infinite numbers of tools which compel us to redefine concepts, values and functions which art has assumed. Nevertheless, the objective of the study isn’t meant to cover the common totality of art of this period but only the most general features of it or of one fragment of it. So the specific case of Michael Snow, which acquires a relevant presence in these pages, is due to the fact that his works are located in that space between indefinition and transformation in which the relation between art and new technological techniques is an expression of a new feeling – a new way of comprehending the world.
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Warscher, Michael [Verfasser], and Harald [Akademischer Betreuer] Kunstmann. "Performance of Complex Snow Cover Descriptions in a Distributed Hydrological Model System and Simulation of Future Snow Cover and Discharge Characteristics: A Case Study for the High Alpine Terrain of the Berchtesgaden Alps / Michael Warscher. Betreuer: Harald Kunstmann." Augsburg : Universität Augsburg, 2015. http://d-nb.info/1079793763/34.

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Duarte, Theo Costa. "O cinema de vanguarda em diálogo com as artes visuais: contrastes e paralelos em experiências brasileiras e norte-americanas (1967-1971)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-27092017-103239/.

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O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades.
The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.
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Stern, Joel. "Tracing the influence of non-narrative film and expanded cinema sound on experimental music." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/61001/1/Joel_Stern_Thesis.pdf.

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This study surveys and interrogates key conceptual frameworks and artistic practises that flow through the distinct but interconnected traditions of non-narrative film and experimental music, and examines how these are articulated in my own creative sound practise.
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Kuronen, Suzanne. "Figuring space : considering the figure in the construction of space as materialist film." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0015.

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Figuring Space; considering the figure in the construction of space in materialist film is an analysis of film space that uses either the image of a figure or the actual figure of the viewer in its construction. The thesis focuses on particular screen works of William Raban, Guy Sherwin, Malcolm Le Grice, Chris Welsby, Nicky Hamlyn, Peter Gidal (all members of the London Filmmakers’ Cooperative) and the Canadian artist Michael Snow. It discusses the works in relation to the basic materials of time, light and sound found in film and video. The thesis looks at the way the film frame was implemented in the work of these artists to challenge preconceived notions of film space. It also highlights the uncertainty of spatial relativity within the screen image once the techniques imposed by the artist undermine previous determinations of positions in space. The frame provides necessary elements with which a reading of a pictorial space can be made. In addition, with some of the works discussed, the frame defines an exterior screen space that at times questions the boundaries between on-screen and off-screen, and fictive space and real space. While in other works that are addressed, binaries exist within which the boundaries of a picture plane are utilized to determine an object’s spatial relativity, which in turn questions the relativity of those boundaries that determine it. The frame that previously confirmed the illusions of space within the pictorial plane could no longer be prescribed as definitive. Calculations of the film space would become dependent upon a point of origin that is situated within actual time and space at the position of the viewer. The figure of paramount importance, when considering the constructs of space within materialist film, is that of the viewer
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Moure, José. "Du vide au cinéma." Paris 1, 1995. http://www.theses.fr/1995PA010590.

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Au fil d'un itinéraire autour du cinéma "classique", en amont et en marge du cinéma moderne, puis au cœur des cinémas de la modernité, cette étude questionne le langage cinématographique dans ses rapports ambigus (rapports de refoulement, de tentation puis de fascination) à la vacuité. Elle s'attache à mettre à jour non seulement les différentes conditions d'émergence, modalités de manifestation et formes particulières du vide cinématographique, mais aussi les principales stratégies de représentation qui, à des degrés divers et avec des partis pris différents, ont conduit le cinéma à se confronter a une dimension qu'il a longtemps refoulée et à laquelle il a fini par s'abandonner vertigineusement jusqu'à s'exténuer dans des logiques cinématographiques modernes sous-tendues, voire entièrement déterminées par une esthétique du vide. De l'horreur classique de la vacuité au saut moderne dans le vide, de l'art cinématographique en général au cinéma d'Antonioni en particulier, d'une présence relative ou refoulée du vide à l'émergence d'une dimension cinématographique du vide, du vide dans un cinéma du hors-champ, comme figure de rhétorique rapportée à une stratégie narrative et figurative du plein, à un modèle cinématographique entièrement informe par les valeurs représentatives et productives de la vacuité, se dessine ainsi l'histoire improbable du vide au cinéma ; une histoire dont l'enjeu ultime est moins de décrire la mise en œuvre d'un thème, d'une figure stylistique, d'un procédé, d'un mode particulier de représentation. . . , que de raconter la passion cinématographique du dehors
Adopting a general diachronic approch essentially articulated around the ceavage classicism modernity (classical cinema, pre-modern cinema and then modern cinema), this study questions the cinematographical language in its ambiguous relations to the emptiness (relations of repression, of temptation, and then of fascination). It highlights the different conditions of emergence, modalities of manifestations and particular forms of cinematographical vacuity. It also examines the principal strategies of representation which obliged the cinema to deal with a dimendsion that it had long repressed. From the classical horror vacui to the modern leap into emptiness, from cinematographical art in general to the specific works of antonioni, from a relative or repressed presence of vacuity to the emergence of a cinematographical aesthectic of emptiness, from emptiness in a cinema of the offscreen space, as a rhetorical figure in a narrative and figurative strategy of pleinitude, to a cinematographical patten completely informed by the representative and productive values of vacuity, thus is traced the improbable history of emptiness in film : an history whose goal is less to describe the application of a theme, of a figure of style, of a process, of a particular mode of representation, than to tell the cinematographical passion the outside
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Michel, Hans-Jürgen [Verfasser]. "Vergleichende Untersuchungen der Grenzflächen und der Gas-Sensor- Eigenschaften von SnO2-Sputterschichten mittels ARXPS und Leitfähigkeitsmessungen / Hans-Jürgen Michel." Karlsruhe : KIT-Bibliothek, 1995. http://d-nb.info/1124068147/34.

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Alagôa, Alexandre 1994. "O vórtice abissal : a mise en abyme e o filme estrutural." Master's thesis, 2018. http://hdl.handle.net/10451/35016.

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A tese possui um DVD com um filme VORTEX, apenas disponível para consulta na Biblioteca da Faculdade de Belas Artes COTA DVD 216
The following work of practical and theoretical investigation follows up, as its first premise, on the problematization around the structural film theme, as it is defined by the film critic P. Adams Sitney, taking as our objects of analysis three films by Michael Snow: Wavelength, Back and Forth, La Région Centrale. This problematization is, by means of these two authors, transposed into the audiovisual artistic praxis through the making of our film Vortex. Therefore, we seek to explore the idea of film as film which focuses on the film as a powerful mean within itself — centered around the confrontation with its formal, material and durational qualities, as well as on the extreme role of the montage as a means of temporal and spatial construction —, as opposed to the methods of dominant (and traditionally narrative) cinema which resort to the medium and to montage procedures exclusively as instruments of representation of a given (illusory) reality, as tools to create stories and (inter)actions between characters. The second main premise concerns the concept of mise en abyme, as it is analysed by Lucien Dallenbach, considering its origin on the writings of André Gide. We define the function of the concept regarding several types of interior duplication which reflect the work of art upon itself, having as our main examples objects from: literature (Les Faux-Monnayeurs by André Gide) and theatre (Hamlet by Shakespeare; L’Illusion Comique by Pierre Corneille), painting (Las Meninas by Velázquez), cinema (Spacy by Takashi Ito). Just like the problematization around the structural film, our investigation on the mise en abyme concept is also transposed into the audiovisual universe through the creation of the film Vortex. As such, we construct a vertiginous space which closes itself on an abyss of screens inside of screens, mirrors inside of mirrors and frames inside of frames: it’s a pure enclosure inside the image world, it is the Descent into the Maelstrom
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Books on the topic "Michael Snow"

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Michael Snow: Wavelength. London: Afterall Books, 2009.

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editor, Südbeck Annette, Lipsky Tina editor, Langford Martha author, Pálffy András author, and Wiener Secession, eds. Michael Snow: Recent works : Secession. Berlin: Revolver, 2012.

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Michael, Snow. The collected writings of Michael Snow. Waterloo, Ont: Wilfrid Laurier University Press, 1994.

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Bisaccia, Antonio. Effetto Snow: Teoria e prassi della comunicazione artistica in Michael Snow. Genova: Costa & Nolan, 1995.

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Michael, Snow. Visual art, 1951-1993: [the Michael Snow Project]. Toronto: Alfred A. Knopf Canada [for] the Art Gallery of Ontario [and] The Power Plant, 1994.

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Turin, Italy) Festival internazionale cinema giovani (1986. Michael Snow: [catalogo] : Torino 18/23 marzo 1986. Torino: Festival Internazionale Cinema giovani, 1986.

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1963-, Shedden Jim, Testa Bart, Michael Snow Project, and Art Gallery of Ontario, eds. Presence and absence: The films of Michael Snow, 1956-1991. Toronto: Art Gallery of Ontario, 1995.

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Michael, Snow. Michael Snow, [from January 27 to April 23, 1995, Works from the collection of the National Gallery of Canada and film retrospective]. Montréal: Musée d'art contemporain de Montréal, 1995.

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R, Reid Dennis, Snow Michael 1929-, Monk Philip 1950-, Dompierre Louise, Art Gallery of Ontario, and Power Plant (Art gallery), eds. Visual art, 1951-1993: Exploring plane and contour : the drawing, painting, collage, foldage, photo-work, sculpture and film of Michael Snow from 1951 to 1967. Toronto: A.A. Knopf Canada, 1994.

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WWF Attitude, Official Acclaim Strategy Guide. Glen Cove, NY: Acclaim Entertainment, Incorporated, 1999.

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Book chapters on the topic "Michael Snow"

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Oorebeek, Willem. "Michael in the Snow." In What does the Veil know?, 40. Vienna: Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-99290-6_6.

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"Toward Snow." In Michael Snow. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/12227.003.0003.

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"About Snow." In Michael Snow. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/12227.003.0009.

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"Michael Snow." In A Critical Cinema 2, 51–76. University of California Press, 1992. http://dx.doi.org/10.1525/9780520912861-004.

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"Michael Snow." In Screen Writings, 136–55. University of California Press, 1995. http://dx.doi.org/10.1525/9780520913110-008.

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"Series Preface." In Michael Snow. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/12227.003.0001.

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"Acknowledgments." In Michael Snow. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/12227.003.0002.

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"Passage." In Michael Snow. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/12227.003.0004.

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"A Casing Shelved." In Michael Snow. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/12227.003.0005.

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"Musics for Piano, Whistling, Microphone, and Tape Recorder." In Michael Snow. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/12227.003.0006.

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