Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 2 of 2 Parameters |
| Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/01/2007, 06:09 | |
| "Motion-picture music corresponds to the whistling or singing child in the dark" | |
| "For the talking picture, too, is mute. The characters in it are not speaking people but speaking effigies, endowed with all the features of the pictorial, the photographic two-dimensionality, the lack of spatial depth. ... Although the sound of these words is sufficiently different from the sound of natural words, they are far from providing 'images of voices' in the same sense in which photography provides us with images of people" | |
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Suggest that music was early introduced to cinema to calm the fear felt when watching ghostly and silent images of other humans on screen. The fear comes not from the images' ghostlike qualities but from the threat of [our own] muteness when confronted with images of creatures like ourselves. A footnote mentions that Kurt London stated that music was added to drown the noise of the projector although Adorno and Eisler suggest that that was not due to the noisiness of the projector but was to appease or neutralize the sound of a mechanism to which we refuse to yield. An assertion of humanity. London, Kurt. Film Music. New York: Arno Press (1936). p.28 |
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| Adorno, T. W., & Horkheimer, M. (2005). The culture industry: Enlightenment as mass deception. Retrieved August 28, 2019, from https://www.marxists.or ... 44/culture-industry.htm |
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| Added by: Mark Grimshaw-Aagaard 29/08/2019, 15:09 | |
| "The blindness and dumbness of the data to which positivism reduces the world pass over into language itself" | |
| "Real life is becoming indistinguishable from the movies. The sound film, far surpassing the theatre of illusion, leaves no room for imagination or reflection on the part of the audience, who is unable to respond within the structure of the film, yet deviate from its precise detail without losing the thread of the story; hence the film forces its victims to equate it directly with reality." |