Music and moving images are, on their own, such strongly individual artforms that it is virtually impossible for them to co-exist on an equal footing. In narrative cinema, sound is almost always subservient to image, sometimes intensifying the visuals or, in the case of many mainstream films, supplying an emotion otherwise absent. In the opera house great music will often bolster a lacklustre production, while in the concert hall images are entirely superfluous. When music and image are presented together within a single work of art, certain questions inevitably arise: which of the two is the dominant force? And to what extent could the individual elements have stood comfortably on their own?
The combination of sound and moving image – defined in the loose sense of constructions of light reflected from a screen – formed the central theme…
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