{"id":17732,"date":"2016-02-12T01:08:19","date_gmt":"2016-02-12T01:08:19","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=17732"},"modified":"2021-11-11T16:58:32","modified_gmt":"2021-11-11T15:58:32","slug":"an-optical-poem-by-oskar-fischinger","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2016\/02\/12\/an-optical-poem-by-oskar-fischinger\/","title":{"rendered":"An Optical Poem by Oskar Fischinger"},"content":{"rendered":"

\"fischinger.jpg\"<\/a><\/p>\n

Oskar Fischinger’s only successful collaboration with a Hollywood studio was this 7-minute animation<\/a> made for MGM in 1937. As with some of Fischinger’s earlier films, a piece of classical music is illustrated with dancing shapes of cut-out paper. The music in this instance is Liszt’s Second Hungarian Rhapsody<\/em>, and this short was one of the films that brought Fischinger’s to Walt Disney’s attention when the Disney studio was planning a similarly abstract sequence for Fantasia<\/em>. Fischinger worked on the Toccata and Fugue<\/em> opening but his early efforts for Disney were dismissed as “too dinky” by the man responsible for a ubiquitous anthropomorphic mouse.<\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The abstract cinema archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Oskar Fischinger’s only successful collaboration with a Hollywood studio was this 7-minute animation made for MGM in 1937. As with some of Fischinger’s earlier films, a piece of classical music is illustrated with dancing shapes of cut-out paper. The music in this instance is Liszt’s Second Hungarian Rhapsody, and this short was one of the … Continue reading “An Optical Poem by Oskar Fischinger”<\/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":[49,52,7,3],"tags":[8011,3506,2864,6786],"class_list":["post-17732","post","type-post","status-publish","format-standard","hentry","category-abstract-cinema","category-animation","category-film","category-music","tag-franz-liszt","tag-james-whitney","tag-jordan-belson","tag-oskar-fischinger"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4C0","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/17732","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=17732"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/17732\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=17732"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=17732"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=17732"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}