![]() ![]() An example is the extraordinary couple who formed with Fellini Nino Rota and the wonder of masterpieces like The way in which the two worked, as in so many other films, with this method, or more recently the approach of composer James Newton Howard against the film by Jay Russell the Water Horse, for example. Sebastiano Luciani, argues that the relationship between music and images would ideally be overturned.Īnd that may not be the music to follow the images, simply because “the music can determine the gesture, do not follow it, can evoke the images, do not translate them into sound.” So who should make a music for a film according to Luciani should never in any way from the images to develop and compose the soundtrack, but instead anticipate the action, working on the “overall plot”, the “subject”, realize the musical work even before you realize the film, which is a way of working that is used by many directors and composers of the last century and contemporary. The relationship between images and music, however, has never been granted. There have been many scholars, musicologists, historians and critics of cinema, but also the directors and musicians, who have questioned the relationship between film and music, what were the models aesthetic, formal, compositional, whose film music you drew. ![]() These attempts, realized recording to the music that was supposed to accompany the film, had no fortune, visual track and the soundtrack were recorded and played back on different media, which easily caused the loss of synchronism, also amplification systems cinemas were inadequate.įilm and music are two arts which undeniably have woven their languages, and is now widely accepted that the images and sounds constitute two inseparable aspects of the filmic text.įor a long time the sound dimension of the film has been little studied by film critics but recently, especially in the last twenty years, has produced a rich literature.Īlready by the early cinema, silent movies, the music had a vital role before for purely pragmatic reasons and, as a result, more for reasons of structural and narrative. Several directors of early cinema had sought a method to synchronize sound and images, as Melies or Dickson, or the production company Gaumont who was born with the intent to distribute phonographic material for the cinema. ![]()
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