![]() An interdisciplinary conceptual framework that combines selected theories of electroacoustic music and apposite perspectives from film soundtrack studies informs the approach. This practice-as-research study documents the development of a sonic arts approach to film sound design. This way, we seek to extend and deepen knowledge of the cinematic interval." Then, we will compare the differences and analogies of their philosophical meanings to the cinematic ones. In order to understand and specify the characteristics of the interval in cinema, we propose to start by analyzing the various concepts of the interval in philosophy. Thus, intervals between shots cause changes and internal transformations which participate in the harmonization of the film. Norman McLaren also explains that « animation is therefore the art of manipulating the invisible interstices that lie between frames 2». For Deleuze, « you can bring two instants or two positions together to infinity but movement will always occur in the interval between the two 1». On the contrary, it is the productive gap that organizes the shift between shots. Vertov’s interval is not determined to create or maintain the illusion of continuity. Vertov defines it as the passage from a shot to another, creating spatio-temporal transformations. In cinema, interval is what separates two photograms or two shots. This Atomist void isn’t considered space or container but an interval that creates a discontinuity between bodies and permits movement thanks to their contiguity or contact. In Occident, the Atomistic Philosophy maintains that nature is only composed of atoms and void. It may also describe minor changes as well as radical transformations. This term refers to the interval, the interstice but also space and boundaries. "When we focus on the notion of interval throughout History, mention should be made of the Japanese concept of Ma. Cited in Thomas Deane Tucker and Stuart Kendall (eds),Terrence Malick, Film and Philosophy, Continuum Int. With reference to Jean-Louis Comolli, Mary Ann Doane and Kaja Silverman, amongst others, I underpin my discussion of sound in Malick's film with a look at the wider context of the marginalised position of sound within film theory. This article redresses this lack of critical recognition, whilst arguing that it is reflective of the general under-theorisation of sound within a body film theory and criticism which tends to emphasise the visual image. Ridding the film of dialogue created a different emphasis on sound and Weber's states that he and Malick were disappointed that this aspect of the film was critically overlooked. Indicating that Malick's experimentation with sound largely developed in post production, Weber confirms that the dialogue-heavy screenplay was transformed in the cutting room with the addition of Linda Manz's haunting voice-over. ![]() Drawing on interview material with editor Billy Weber (who worked on all three of Malick's films), the original screenplay of Days of Heaven and detailed sequence analysis, the paper examines the film's manipulation of the traditional relationship between sound and image. Terrence Malick's Days of Heaven (1978) has been hailed as 'one of the most beautiful films ever made', but the film's immense cinematic beauty has detracted from the impact of its experimental soundtrack. ![]() Thus, the essays collected provide critical readings through which the authors provide answers to questions, such as what is the relationship between sound and vision? And what is music's potential for communicating meaning into understanding? ![]() ![]() What we attempt to put forward in this book is not a solution to the analysis of sound and vision, but rather, a list of possibilities and approaches through which interpretation can be undertaken. Chapters are organised thematically around the headings Avant-garde aesthetics, Re-sounding soundtracks, Televisual intertexts, Interrogating the mainstream, and Personal politics and embodied performance. In this way, the book addresses a cluster of concerns that pertain to audiovisual production, performance and consumption in a variety of present day contexts. The focus of the essays is exclusively contemporary. A thread that runs through the chapters is the recognition of audiovisual performance as a central theoretical category. And yet, very little has been published that recognises its relevance to a wide range of practices, including music videos, film and television music, video art, and gaming music. For several years audiovisual analysis has been a growth area in musicology and cultural studies. ![]()
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