Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984)
No Wave cinema of the 1970s is caught in several intermedial mechanisms as one realization of the transmedial punk movement. No Wave is anti-everything and refuses many rules just like punk rock does. No Wave films are interested in No Wave music and use it as their score while their style deviates...
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| Izdano u: | URI:https://journals.openedition.org/interfaces, |
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| Glavni autor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
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Interfaces
2023
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| Online pristup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:interfaces_6159 |
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openedition |
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openedition-oai:revues.org:interfaces_6159 https://doi.org/10.4000/interfaces.6159 urn:doi:10.4000/interfaces.6159 en https://journals.openedition.org/interfaces/6159 2023-01-23T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4ix https://creativecommons.org/licenses/by/4.0/ Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984) Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Murillo, Céline intermédialité musique cinéma transmédialité Colab New York No Wave punk scène music cinema intermediality transmediality Colab New York No Wave punk scene No Wave cinema of the 1970s is caught in several intermedial mechanisms as one realization of the transmedial punk movement. No Wave is anti-everything and refuses many rules just like punk rock does. No Wave films are interested in No Wave music and use it as their score while their style deviates from the norm just like the music does. In addition, these films were created by a “scene” of artists that had flocked to New York to take advantage of the cheap lifestyle. All refused know-how in accordance with punk DIY ethos, hence they did not attach themselves to any art or media. However, cinema occupied a specific place, first because of its inherent complex multifaceted mediality that could have an affinity with the punk movement, but also because its mainstream was the very media that these artists wanted to attack by creating alternative forms of it, since it was the dominant mass-media that carried the hegemonic norms. À New York à la fin des années 1970, le cinéma No Wave – une forme plus contestataire et plus artistique du punk – est pris dans des relations intermédiales, plurimédiales et transmédiales très complexes. Celles-ci sont liées à l’esthétique et l’éthique Do It Yourself du punk, son rejet global des valeurs dominantes et son désir de tout remplacer par des formes alternatives. Le cinéma No Wave en défaisant les codes du cinéma hollywoodien établit des relations intermédiales avec la musique No Wave et punk. De plus, ces films sont créés sur une « scène » qui rassemble des artistes qui refusent le savoir-faire comme préalable à la création et ainsi ne se spécialisent dans aucun art ni medium mais touchent à tout selon leurs collaborations. Enfin les membres du groupe portent un intérêt particulier au cinéma, peut-être à cause de sa médialité complexe et multiple qui le rapproche de leur propre posture, mais aussi en raison de leur souhait d’attaquer la forme dominante : le cinéma hollywoodien. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
intermédialité musique cinéma transmédialité Colab New York No Wave punk scène music cinema intermediality transmediality Colab New York No Wave punk scene |
| spellingShingle |
intermédialité musique cinéma transmédialité Colab New York No Wave punk scène music cinema intermediality transmediality Colab New York No Wave punk scene Murillo, Céline Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984) |
| description |
No Wave cinema of the 1970s is caught in several intermedial mechanisms as one realization of the transmedial punk movement. No Wave is anti-everything and refuses many rules just like punk rock does. No Wave films are interested in No Wave music and use it as their score while their style deviates from the norm just like the music does. In addition, these films were created by a “scene” of artists that had flocked to New York to take advantage of the cheap lifestyle. All refused know-how in accordance with punk DIY ethos, hence they did not attach themselves to any art or media. However, cinema occupied a specific place, first because of its inherent complex multifaceted mediality that could have an affinity with the punk movement, but also because its mainstream was the very media that these artists wanted to attack by creating alternative forms of it, since it was the dominant mass-media that carried the hegemonic norms. |
| author |
Murillo, Céline |
| author_facet |
Murillo, Céline |
| author_sort |
Murillo, Céline |
| title |
Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984) |
| title_short |
Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984) |
| title_full |
Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984) |
| title_fullStr |
Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984) |
| title_full_unstemmed |
Intermedial Negative: The Role of Punk Cinema in the Downtown Scene (New York, 1976-1984) |
| title_sort |
intermedial negative: the role of punk cinema in the downtown scene (new york, 1976-1984) |
| publisher |
Interfaces |
| publishDate |
2023 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.6159 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/6159 |
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1877292916654735360 |