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Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press. 
Added by: Mark Grimshaw-Aagaard (3/9/06, 10:03 AM)   Last edited by: Mark Grimshaw-Aagaard (1/6/07, 7:09 AM)
Resource type: Book
ID no. (ISBN etc.): 0485114542
BibTeX citation key: Adorno1994
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Categories: Film Music/Sound
Keywords: Film sound
Creators: Adorno, Eisler
Publisher: Athlone Press (London)
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Originally published 1947, New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
p.75   "Motion-picture music corresponds to the whistling or singing child in the dark"   Added by: Mark Grimshaw-Aagaard
Keywords:   Music
p.76   "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"   Added by: Mark Grimshaw-Aagaard
Keywords:   Space
pp.75–76   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   Added by: Mark Grimshaw-Aagaard
Keywords:   Music Noise
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