Cinema and the audiovisual imagination : music, image, sound /
Robert Robertson.
- xv, 256 pages : illustrations ; 22 cm.
- International Library of the Moving Image ; 24 .
- International library of the moving image ; 24. .
Includes bibliographical references (pages 247-249) and index.
Machine generated contents note: 1.Do the Eisenstein Thing -- The Audiovisual in Spike Lee's Do The Right Thing (1989) -- 2.Double Echoes: Music and Sound in David Lynch's Lost Highway (1997) -- 3.Audiovisual Irony, Terror, Ecstasy -- David Lean, This Happy Breed (1944), Alfred Hitchcock, The Birds (1963), Werner Herzog, Land of Silence and Darkness (1971) -- 4.Where's the Film Composer? -- 2001: A Space Odyssey -- Music, Image and Sound in Stanley Kubrick's (1968) -- 5.Filmic Choreographies: A Backward Glance -- John and James Whitney, Len Lye, Norman McLaren, Busby Berkeley -- 6.Maya Deren: Meshes of the Audiovisual -- Music, Image and Sound in Maya Deren's Meshes of the Afternoon (1943, 1959) -- 7.The Audiovisual Imagination Beyond the European Tradition -- Satyajit Ray, Devi (1960), Kaneto Shindo, Onibaba (1964), Akira Kurosawa, Throne of Blood (1957) -- 8.Sonic Art, Digital Cinema -- Chris H. Lynn, A Trilogy of Summer (2010 -- 2012) -- 9.Two Films with Little Music -- 10.The audiovisual in three found footage films -- 11.Two audiovisual collages -- 12.'The echo of many voices': Derek Jarman's Blue (1993) -- 13.The Russians: The audiovisual and the long take --14.Intertransparency and the leaping elements --15.Diary of a Music/Film.
So far, the study of cinema has been overwhelmingly visual. In this book Robert Robertson presents cinema as an audiovisual medium, based on Eisenstein's ideas on the montage of music, image and sound. Robertson applies an audiovisual focus to key works by film directors such as Spike Lee, Maya Deren, David Lynch, Alfred Hitchcock, Stanley Kubrick, and Fritz Lang, as well as exploring the audiovisual in avant-garde animation, in landscape in cinema, and in films beyond the European tradition. Recent developments in technology have for the first time enabled practitioners to work extensively with music and sound on an equal level with the visual track, so Robertson also explores the audiovisual creative process in opera, a music/film collaboration, and in his music/films Oserake and The River That Walks. This illuminating book has relevance for practitioners in any work that involves the audiovisual, especially cinema and its future multiple forms. -- Provided by publisher.