Category: Film Music and Sound

Film, Film Music and Sound

Persona (1966) – Consequences of a Silent World (Ingmar Bergman)

This article contains spoilers. Though drenched in visual complexities and sharp, hap-hazard editing, Ingmar Bergman’s Persona (1966) is film that is aurally interesting as it is exhilarating to view.  Its opening segment of film footage from all corners of cinematic life, spliced together to form a montage of passing thoughts and nightmares, is actually a beautifully put together piece of sound editing as well.  This … Continue reading Persona (1966) – Consequences of a Silent World (Ingmar Bergman)

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Film, Film Music and Sound

The Red Shoes (Powell & Pressburger) – Visual Forms of Diegesis.

The audio-visual theory of diegesis probably does have some form of basic, traditional film theory equivalent.  The splitting of film sound into what the characters and the audience can hear and the differences and problems this can cause are the basis for so much, often excessive, film sound theory.  For a film such as Michael Powell and Ernest Pressburger’s The Red Shoes (1948), the audio … Continue reading The Red Shoes (Powell & Pressburger) – Visual Forms of Diegesis.

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Film, Film Music and Sound

Musical Emphasis on Visual Words (François Truffaut and Pier Paolo Pasolini)

The relationship between sound and vision in film is one that is complex and almost indefinable in a broad sense due to each director and composer treating such relationship in different ways.  The two examples about to be discussed are almost reverse images of each other’s effects; the same method has been applied but for different reasons and different results.  Much examination has taken place … Continue reading Musical Emphasis on Visual Words (François Truffaut and Pier Paolo Pasolini)

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Film, Film Music and Sound

Maya Deren And The Scores Of Teiji Ito (Meshes Of The Afternoon + Others)

Time past and time future, What might have been and what has been, Point to one end, which is always present. – T.S Eliot (Four Quartets) There’s a clash often present in the films of Maya Deren but especially in the ones that incorporate music into their styling.  From her most famous short Meshes Of The Afternoon (1943 or 1952 with music) to other titles such as … Continue reading Maya Deren And The Scores Of Teiji Ito (Meshes Of The Afternoon + Others)

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