{"id":16570,"date":"2015-03-28T02:34:19","date_gmt":"2015-03-28T01:34:19","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=16570"},"modified":"2015-03-28T02:34:19","modified_gmt":"2015-03-28T01:34:19","slug":"bridges-go-round-a-film-by-shirley-clarke","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/03\/28\/bridges-go-round-a-film-by-shirley-clarke\/","title":{"rendered":"Bridges-Go-Round, a film by Shirley Clarke"},"content":{"rendered":"

\"clarke\"<\/a><\/p>\n

Bridges-Go-Round<\/em><\/a> (1958) is a short but beguiling film that makes New York’s bridges seem like huge pieces of kinetic sculpture. The version linked here is also unusual for being two films in one: the film repeats itself with identical visuals but a different soundtrack. The first version is scored by a jazz piece from composer and producer Teo Macero, the second has electronic music by Louis and Bebe Barron that sounds very similar to their all-electronic score for Forbidden Planet<\/em> (1956). When the music changes the film seems to change with it.<\/p>\n

Previously on { feuilleton }
\n\u2022 NY, NY, a film by Francis Thompson<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Bridges-Go-Round (1958) is a short but beguiling film that makes New York’s bridges seem like huge pieces of kinetic sculpture. The version linked here is also unusual for being two films in one: the film repeats itself with identical visuals but a different soundtrack. The first version is scored by a jazz piece from composer … Continue reading “Bridges-Go-Round, a film by Shirley Clarke”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[49,8,29,7,3],"tags":[3407,3406,7137,7138],"class_list":["post-16570","post","type-post","status-publish","format-standard","hentry","category-abstract-cinema","category-architecture","category-electronica","category-film","category-music","tag-bebe-barron","tag-louis-barron","tag-shirley-clarke","tag-teo-macero"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4jg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16570","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=16570"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16570\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=16570"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=16570"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=16570"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}