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Silent movies meet up with the music of today in an original concoction which brings together clubbers and film aficionados.
The genre was born in the spring of 2000, when the British electronic-jazz group the Cinematic Orchestra-four musicians and a deejay-began improvising with the black-and-white images of “Man with a Movie Camera,” the 1929 masterpiece by the Russian Dziga Vertov. Ciné-mix was thus born.
The association «Les Nuits Rousses» (Red Nights) has since been organizing quite a few Ciné-mix events, in Paris as well as abroad. The format is as follows: on screen a silent movie from the early 20th century, on stage a deejay who remixes a sound track live. Serving as a way to fill in for the lack of a sound track in the film, the equipment awakens a whole series of very special emotions, which are completely tied in to the images projected on the screen. The film thus takes on a whole new dimension, carried forward by the remixing, which is done live and which allows everyone, even the most ardent movie fan to discover (and rediscover) the film anew.
Early in the 20th century an orchestra would play during the screening; early in the 21st it’s a deejay. Ciné-mix is definitely something to ponder, as tribute to anachronism.
- Program 1: La Rue (The Street), K. Grune, 1923, 110 minutes)
The film which inspired Martin Scorsese to make After Hours. A placid, happily married man watches a prostitute from his window who’s working the sidewalk in front of his abode. The goings-on down below could pose a threat to his domestic security.
Music : Nicolas Errera www.nicolaserrera.com
- Program 2: La Glace à trois faces (The Thre-paneled Mirror) (J. Epstein, 1927, 40 minutes) Balançoires (Swings) (Noel Renard, 1928., 30 minutes)
A link to the French avant-garde of the 1920s: Paris...but a dark Paris... and mad...
Musique : Scratch massive (Maud Geffray & Sebastien Chenut)
- Program 3: Study of Paris (Andre Sauvage, 1928, 80 minutes)
First documentary made about Paris. Art photography used as image. The eye of A. Sauvage, the eye of the instant and of little gestures, shows us that Paris is an actress who knows how to give herself to those who know how to take her.
Music : Antipop AKA telepopmusik (Jack Baer has written about the album Genetik World, A picture painted with strong lines and subtle colors »)
In the Press
Red Nights’ ciné-mixes have a strong predilection for using avant-garde silent films of the Twenties to appeal to the visual tastes of their intended, rather young, audiences.
Odile de Plas / Le Monde
Platinum blondes and old faces: Since February, Red Nights has been making this surprising alliance official by inviting deejays to remix in person during the screenings of films from the twenties.
Dalida Kerchouche / L’Express
It’s important to point out that this is artistic creation, not just the showing of video clips; the images don’t simply serve to illustrate the music, they are part of a dialogue between two time periods.
Vincent Josse / Radio France
Red Nights is responsible for the most ambitious of projects, the Ciné-mix of the forum of images retransmitted by the CineCinema Classic channel. This time, it’s not just a question of remixing recordings with film but to bring about an electronic creation.
Philippe Azoury / Libération
To access the website of Cine-Mix, click here.