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Renaud Hallée 

(*1989) is a young experimental filmmaker and audiovisual composer. His work include Sonar, a personal project completed while he was still in university in 2009, Combustion and The Clockmakers, produced by the National Film Board of Canada (NFB).

Renaud Hallée creates music-centered short films and interactive projects, produced either independently or with the National Film Board of Canada (NFB). Born in 1989 in Montreal, Renaud Hallée obtained a college degree in filmmaking and a bachelor's degree in music composition.

His short films have been shown in numerous music and film festivals around the world, including Ottawa International Animation Festival, Annecy International Animation Film Festival, Toronto International Film Festival (TIFF) and SXSW.

 

Source: PossibleMetrics

 

 

Renaud Hallée, who trained in classical music, also composes his own scores.
In fact, this talented filmmaker elaborates his films much like a musician with his instrument. Without a large team, he creates remarkably coherent systems of sounds and visuals. His films have been described as "a way of listening to music with your eyes."

 

Renaud Hallée is one of those Web artists who turn everything they touch into Internet gold. His first three films, Sonar (2009), Gravity (2009) and Combustion (2011) – produced independently by his production company Possible Metrics – were all selected as Staff Pick by Vimeo’s editorial team. Since then, each film has racked up hundreds of thousands of views, for a total of nearly 2 million views to date… and counting.

 

Source: National Film Board of Canada

 

 

Renaud Hallée, *****

Reading

Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Film as Film: Formal Experiment in Film 1910-1975 (1979) is a catalogue of an exhibition held at the Hayward Gallery in London from 3 May until 17 June 1979 on rare, essential and controversial avant-garde film history.

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SEE ALSO

Do While (1995) by Sebastian Oschatz is the 24-minute opener of 94 Diskont, arguably one of the most radical electronic albums of the 1990s. Oval equally drew praise and controversy for their assault on techno's restrictions by literally deconstructing music and digital audio by using X-acto knives, paint, and tape to damage the surfaces of CDs, only to stitch it back together in loops of melody punctuated by the CD's physical skips. (Stylus)

Rubber Johnny (2005) by Chris Cunningham is six minutes and ten seconds of terror that fuses the music of Aphex Twin with his own unique visual style. The titular Johnny is a mutant kid stuck in a wheelchair who is shut in the dark by his parents and amuses himself and his pet dog by shape-shifting and raving. Chris himself plays the part of Johnny and the film itself became a kind of side project that evolved out of a 30 second promo for Aphex Twin's Druqks and took several years to complete for both the shooting and the editing. (Pixelsurgeon)

Digital Harmony (1980): On the Complementarity of Music and Visual Art – John Whitney, Sr. wanted to create a dialog between "the voices of light and tone." All of his early experiments in film and the development of sound techniques lead toward this end. He felt that music was an integral part of the visual experience; the combination had a long history in man's primitive development and was part of the essence of life. His theories On the complementarity of Music and Visual Art were explained in his book, Digital Harmony, published by McGraw-Hill in 1980. (Paradise 2012)

VJam Theory: Collective Writings on Realtime Visual Performance (2008) presents the major concerns of practitioners and theorists of realtime media under the categories of performance, performer and interactors, audiences and participators. The volume is experimental in its attempt to produce a collective theoretical text with a focus on a new criticality based on practitioner/ artist theory in which artist/ practitioners utilise theoretical models to debate their practices. (VJ Theory)

Chris Cunningham (1970) is an English music video film director and video artist. He was born in Reading, Berkshire and grew up in Lakenheath, Suffolk. Chris Cunningham has had close ties to Warp Records since his first production for Autechre. Videos for Aphex Twin's Come to Daddy and Windowlicker are perhaps his best known. His video for Björk's All Is Full of Love won multiple awards, including an MTV music video award for "Breakthrough Video" and was nominated for a Grammy for "Best Short Form" Music Video. His video for Aphex Twin's Windowlicker was nominated for the "Best Video" award at the Brit Awards 2000. He also directed Madonna's Frozen video. (Wikipedia)