By Robert Robertson
The pioneering movie director and theorist Sergei Eisenstein is understood for the unmatched influence his handful of movies have had at the improvement of cinema. much less is understood approximately his notable and wide writings, which current a continent of principles approximately film. right here Robert Robertson explores an important region of Eisenstein’s suggestion: his principles concerning the audiovisual in cinema, that are extra pertinent this present day than ever sooner than with the appearance of electronic technology--music and sound now act as self sufficient variables mixed with the visible medium to provide a very audiovisual end result. Eisenstein explored in his writings this complicated intriguing topic with extra intensity and originality than the other practitioner. Eisenstein at the Audiovisual is vital analyzing for somebody who bargains with the audiovisual in cinema and similar audiovisual types, together with theatre, opera, dance and multimedia.
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Extra resources for Eisenstein on the Audiovisual: The Montage of Music, Image and Sound in Cinema (International Library of Cultural Studies)
92 Including a vertical harmonic unity, these techniques are fundamental in a dialectical approach to form. There was another way in which the form of a fugue would be useful in the sound film. Eisenstein mentions that one of J. S. Bach’s main points in his own teaching of fugue was the equal role of parts in the texture of the counterpoint – these were like voices of living people. 93 This approach provides an aspect of fugue which relates it to drama, thereby appealing to the humanistic and socially-conscious aspects of Eisenstein’s work in cinema.
He found that the music of J. S. Bach was a great help in this respect. 25 In the attempt to find some sort of equilibrium in the forms he used in his drawings, Richter’s passion for music led him to the idea of meeting with the Italian German composer Ferruccio Busoni. Also living in Zürich, Busoni was famous as a piano virtuoso, conductor, composer, and specialist in the music of J. S. Bach. In the evenings he would hold court by a fountain outside Zürich railway station. Richter sought his advice about how he could obtain a sense of equilibrium and counter-equilibrium between the black ink marks and the white paper in his drawings, a difficulty he believed was analogous to a musical problem.
He used techniques derived from music to control what he called ‘the heap of fragments inherited from the Cubists’. ’ He found that the music of J. S. Bach was a great help in this respect. 25 In the attempt to find some sort of equilibrium in the forms he used in his drawings, Richter’s passion for music led him to the idea of meeting with the Italian German composer Ferruccio Busoni. Also living in Zürich, Busoni was famous as a piano virtuoso, conductor, composer, and specialist in the music of J.