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Showing posts with the label Christian Metz

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Metz & Aural Objects

on October 22, 2022

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Music For Film

Mario Cordina

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Papers

L'Annie Derniire a Marienbad and the Cartography of an Orphic Life-in-Death:
Tykwer's Shorn Heads In Perfume by Mario Cordina
Hypostasis, Noema And Metron in Perfume by Mario Cordina

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
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
Tom Levin
Tragedy of Macbeth
𝐓𝐫𝐚𝐯𝐞𝐥𝐨𝐠𝐮𝐞 𝐀𝐫𝐜𝐡𝐢𝐯𝐞𝐬 𝐚𝐧𝐝 𝐀𝐦𝐚𝐭𝐞𝐮𝐫 𝐂𝐨𝐥𝐨𝐮𝐫
Unheard Melodies
Vampyr
Victor Fleming
Wagner
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

Last Dance With Mary Jane and filmic composition.

Intro I lived most of my life composing, producing and performing music. The music video, unlike film prioritises its music over any other element. In fact most music videos will feature the musicians performing and / or dancers to accentuate the lyrics, instruments and rhythm of the song. However, especially with the birth of MTV that only broadcast music videos, musicians understood their music video had to stand out and the only way to do that was give their video a filmic quality. It was a great challenge, because film running time was a short 2-3 minutes. In this short space of time the film had to 'tell' a story, promote the musicians and strictly adhere to the music composition. Unlike a short or feature film, which may choose to use or not use music in scenes as it wills, the music video priorities the music and therefore the scenes have to stick to its compositional structure. 2 What is musical compositional structure? 3 Example Musical compositional structure, also k...

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...

Ingredients for your film from the Great Masters

Lesson 1 Hitchcock Lesson 2 Dreyer I started out on this topic after a film making class was urged to watch more contemporary films because the old masters like Hitchcock, Antonioni, Fellini, Kubrick etc are dead. At this time I was there as an observer and willing to assist the film students prepare for their very first short film. I was also in the middle of writing a publication entitled Unheard Shadows, Unseen Whispers that focused on the above mentioned directors. Are they really dead? Let us look at my findings for Hitchcock's 1960 film Psycho. Psycho's use of music is dissonant. A repetition of 4 movements. This is extended to a repetition of 4 themes. Watch Hitchcock's Pyscho and see how these musical movements and themes work. See if you can find the following aspects within the film. Psycho’s preferred mode of communication is through: A misleading glissando, a wonderland of bodiless voices, a whispering taxidermy, the unsweet unhea...

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