KINETOPHONE write and perform contemporary music to classical/silent film as well as current cinematic works. Core-members are René Duursma & Thomas van den Berg. For projects they invite friends & guests to flesh-out their work. Regular contributors/collaborators are Sebastiaan Wiering, Wimer van der Veen & Wes. Musicians have experience in, inter alia, performing live contemporary musical illustration to a 1919 silent film, Abel Gance’s pacifist epic J'Accuse, (Their first live-performance ranked highest in the audience-poll at the Ciné Prémieres Festival, 2010), and music to surrealist films of Germaine Dulac, a French predecessor of avant-garde cinema. In 2013, they adopted the moniker 'KINETOPHONE', and returned to collaborating with Wiering on two projects: a musical performance to accompany an experimental film, "Seacrets #1" by Dutch artist and filmmaker Regina Broersma, and a modern-day score set to Aleksandr Dovzhenko's "Arsenal" (1929), a bleak and surreal film concerning the aftermath of WO I, and subsequent hardships of the Ukranian people. The musicans’ idea was to make their score a musical counterpart of Soviet film montage: it is gritty, rhythmic and dialectic. They also 'quote' from St. Vincent's "Black Rainbow", Bob Dylan's "Master's Of War", and John Lennon's "Working Class Hero".
Arsenal - duration: 89 minutes
Ukraine, 1918 . The country is exhausted by the war fought four years. Kiev-based government of the Ukrainian People’s Republic struggles with the opposition of the Bolsheviks who are gaining strength. Timoš, an Ukrainian soldier serving in the Russian army, returns home. The town celebrates newly-won Ukrainian independence. Timoš joins a group of Bolsheviks demanding establishment of Soviet rule in Ukraine
Aleksandr Dovzhenko
He is considered one of the greatest Soviet filmmakers, alongside Sergei Eisenstein and Vsevolod Pudovkin. Dovzhenko’s oeuvre, best represented by his poetic and philosophical film Earth (Zemlya, 1930), was based on expressionist aesthetics, yet referring to folk tradition and poetic cinema. He authored many technical innovations, especially in film montage. Dovzhenko was forced to make many of the films in the style of socialist realism. One of them was his document titled Liberation (Rus.: Osvobozhdeniye, Ukr.: Vyzvolennya), made between 1939 and 1940. The film, telling about the 1939 Soviet invasion of Poland, is a banal and pathetic propaganda poster.
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