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What is Film? What is Phone?

on March 29, 2026

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Music For Film

Mario Cordina

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A Brief History of Music in Film
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Interesting Online Sites

Film Sound Theory

Papers

Clash. On Antonioni's Blow-Up (1966)
L'Annie Derniire a Marienbad and the Cartography of an Orphic Life-in-Death:
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Anidroc Themes

Aaron Copeland
Absurd
All Films
Anepathetic Sound
Antonioni
Atomic Blonde
Aural Objects
Bach
Baudry
Bazin

Bitter Moon
Bride of Frankenstein
cannibalism
Caryl Flinn
Chinatown
Chion
Chizek
Chris Marker
Christian Metz
Cinematography
Claudia Gorbman
Coen Brothers
Composition
dialogue
Die Another Day
Dimitri Tiomkin
Dreyer
editing
Eisenstein
Empathetic Sound
Erich Wolfgang Korngold
Father of Film Music
Film
Filmmaking
Five ways in which music serves the screen'
Franco Enrico
Franz Waxman
Fritz Lang
Gilles Deleuze
Gorbman
Gorky
Gottfried Huppertz
henri Bergson
Hitchcock
Image and Sound
James Whale
Jeff Geiger
Jim Jarmusch
Joan of Arc
King Kong
King Vidor
Knife in The Water
Kodachrome
L'Avventura
La Jetee
Lars Von Trier
Max Steiner
Melancholia
Metropolis
Michel
Michel Chion
Movement Image
Music for Film
Music.
Narrative
Nightmares
Owl River
Pirates of the Caribbean
Polanski
Psycho
Punchline
Quentin Tarantino
Repulsion
Roman Polanski
School
Scriptwriting
Short Films
sound on screen
Stanley Kubrick
Storytelling
Structure
Surreal
Synchresis
The Aims of Music for Films
The Ballad Of Buster Scruggs
Time Image
Tips
Tom Levin
Tragedy of Macbeth
𝐓𝐫𝐚𝐯𝐞𝐥𝐨𝐠𝐮𝐞 𝐀𝐫𝐜𝐡𝐢𝐯𝐞𝐬 𝐚𝐧𝐝 𝐀𝐦𝐚𝐭𝐞𝐮𝐫 𝐂𝐨𝐥𝐨𝐮𝐫
Unheard Melodies
Vampyr
Victor Fleming
Wagner
Want to be a director?
Wizard of Oz

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Theory, Analysis and Analysts

Aaron Copeland
Absurd
Anepathetic Sound
Aural Objects
Baudry
Caryl Flinn
Chion
Chizek
Christian Metz
Claudia Gorbman

Dimitri Tiomkin
Eisenstein
Empathetic Sound
Erich Wolfgang Korngold
Father of Film Music
Five ways in which music serves the screen'
Franz Waxman
Gilles Deleuze
Gorbman
Gottfried Huppertz
Jeff Geiger
Kodachrome
Max Steiner
Michel
Michel Chion
Movement Image
Music for Film
Nightmares
Surreal
Synchresis
The Aims of Music for Films
Time Image
Tom Levin
Unheard Melodies
henri Bergson
sound on screen
𝐓𝐫𝐚𝐯𝐞𝐥𝐨𝐠𝐮𝐞 𝐀𝐫𝐜𝐡𝐢𝐯𝐞𝐬 𝐚𝐧𝐝 𝐀𝐦𝐚𝐭𝐞𝐮𝐫 𝐂𝐨𝐥𝐨𝐮𝐫

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Directors

Antonioni
Chris Marker
Coen Brothers
Dreyer
Eisenstein
Franco Enrico
Fritz Lang
Hitchcock
James Whale
Jim Jarmusch

Lars Von Trier
Polanski
Quentin Tarantino
Roman Polanski
Stanley Kubrick

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Films

All Films
Atomic Blonde
Bitter Moon
Bride of Frankenstein
Chinatown
Coen Brothers
Die Another Day
Joan of Arc
Knife in The Water
L'Avventura

La Jetee
Melancholia
Metropolis
Owl River
Pirates of the Caribbean
Psycho
Repulsion
The Ballad Of Buster Scruggs
Tragedy of Macbeth
Vampyr

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Filmmaking and Script Writing

Cinematography
Film
Filmmaking
Image and Sound
Music for Film
Music.
Narrative
Punchline
Scriptwriting
Short Films

The Aims of Music for Films
dialogue
sound on screen

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Check These Out

A Lesson in Storytelling With Images 1: All Gold Canyon

Other lessons: Lesson 2 , Lesson 3 All Gold Canyon A lesson in introducing and ending a film. All Gold Canyon by Mario Cordina (Anidroc) Slide 1/2: All the 6 vignettes that make up the Coen Brothers' The Ballad of Buster Scruggs come up in the shape of a book with colour plates and text that are featured before and at the end of each story. The nature of colour plates (just as Charles Dickens used his illustrations) is to give part of the story away before it even starts. "And in all that mighty sweep of man he saw no sign of man, nor the handiwork of man." Slide 2/3/4: The first shots of the canyon are indeed shots of wilderness untouched by man. The sun rising up behind the hill or mountain tops, a birds eye view of the plain and stream below. This we will learn is the owl's point of view from the trees. It also obviously implies that someone is watching. We watch fish in the stream and butterflies pollinating the flowers. A stag comes to drink. An ow...

Food for Thought

Film is defined by the two elements that characterise it; Image and Sound. When famous and established DOPs were asked what makes the cinematic image they were at a loss to come up with an answer. They are the artists who grapple and compose the image creatively and instinctively using their skills and experience. Eventually the image is captured, edited and screened. Their work is committed to creating the end result. The Academic realm, on the other hand, is a distanced one that is concerned with seeking answers and definitions. When it comes to the image, there is a rich library and academic heritage. If one is looking for a place to start, I would suggest Gilles Deleuze Cinema 1 The Movement-Image (1983) and Cinema 2 The Time-Image (1985) which work on the philosophy of Henri Bergson in Creative Evolution (1907) and Matter and Memory (1896). The very titles of the books imply that the cinematic image is one that involves movement and o...

Anempathetic and Empathetic Sound

The terms I'm here to talk about are anempathetic and empathetic sound and music and film. Chion introduced these terms not simply about music and the relationship that music has in film with the image, but sound in general, and as the terms suggest, empathetic sound. It's an emotional term, so that the sounds that we hear are emotionally resonant to the images that we see. Anempathetic I find a lot more interesting because there's-the examples that you find of it are a little rarer and tend to have a lot of punch. One of the reasons I think that anempathetic sound has so much force is because it creates a tension that's almost imperceptible between what you're taking in visually or in other aspects of the soundtrack. And this sound is just there to almost diminish what's happening. The classic example that Chion uses and other people have used is at the end of the shower scene in "Psycho" after Marion Crane's ...

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