Synopses & Reviews
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.
About the Author
Robert Robertson is a composer and filmmaker based in London, UK. He has an MFA in Film Production from the Mel Hoppenheim School of Cinema, Montreal and a doctorate in Film Studies from King's College London, funded by the David Lean Foundation. He is author of Eisenstein on the Audiovisual (winner of the Kraszna-Krausz Foundation's And/Or Award).
Table of Contents
List of Illustrations
Acknowledgements
Preface
Introduction
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?: Music, Image and Sound in Stanley Kubrick's 2001: a Space Odyssey (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 (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: Fritz Lang: M (1931), Alfred Hitchcock: Rope (1948)
10. The Audiovisual in Three Found Footage Films: Dziga Vertov: Three Songs of Lenin (1934), Bruce Conner: Crossroads (1976), Jack Chambers: Hart of London (1968-1970)
11. Two Audiovisual Collages: Pier Paolo Pasolini: The Gospel According to Matthew (1964), Sergei Paradjanov: The Legend of the Surami Fortress (1984)
12. 'The echo of many voices': Derek Jarman's Blue (1993)
13. Three Russians, the Audiovisual, and the Long Take: Sergei Eisenstein: Ivan the Terrible, Part 1 (1944),
Andrey Tarkovsky: The Sacrifice (1986), Alexander Sokurov: Mother and Son (1997)
14. Empedocles, Intertransparency and the Leaping Elements: Robert Robertson and Dennis Dracup: Empedocles (1995)
15. Diary of a Music/Film: Robert Robertson: Oserake and The River That Walks (2002)
Notes
Bibliography