Publication: Disquieting Soundtracks: The Sonorities of Experimental Cinema
Authors
Suárez, Juan A.
item.page.secondaryauthor
item.page.director
Publisher
Wiley-Blackwell
publication.page.editor
publication.page.department
DOI
https://doi.org/10.1002/9781119107934.ch9
item.page.type
info:eu-repo/semantics/bookPart
Description
Abstract
This chapter places the aesthetics of experimental film sound in relation to the aural ecologies of modernity. It explores how optical, magnetic, and digital sound technologies affected the acoustic textures of experimental film. It will show that, outside the field of abstract cinema and visual music, optical sound affected relatively little the aesthetics of avant-garde film between the late 1920s and the mid-1950s, while, by contrast, magnetic sound did, consolidating practices that have remained stable even through the rise of digital sound. The last section of the essay proposes a theory of sound and music in experimental film, adopting Gilles Deleuze's conception of sound and picture as “heautonomous,” and a typology of sound uses—absolute, allegorical, and corporeal.
publication.page.subject
Citation
item.page.embargo
1-ene-2999
Collections
Ir a Estadísticas
Sin licencia Creative Commons.