Sounding the Inaudible: Rethinking the Musical Analogy in the City Symphonies of Walter Ruttmann and Dziga Vertov.
Scholars tend to conceive of city symphony films in terms of a musical analogy that likens their formal elements to those of a musical work. This article argues instead that those elements are also an inaudible expression of sound. It traces the influence of sonic avant-garde composers such as Luigi...
| Publicado en: | Music, Sound & the Moving Image Vol. 12; no. 1; pp. 1 - 32 |
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| Formato: | Artículo |
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Liverpool University Press / Journals
Spring2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=132282521&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 132282521 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Spring2018 vid: 12 iid: 1 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 132282521 10.3828/msmi.2018.1 ppf: 1 ppct: 31 formats: fmt: @attributes: type: P size: 2.2MB tig: atl: Sounding the Inaudible: Rethinking the Musical Analogy in the City Symphonies of Walter Ruttmann and Dziga Vertov. aug: au: SCHWARTZ, DANIEL su: Ruttmann, Walter Vertov, Dziga, 1896-1954 Music Avant-garde music Man With a Movie Camera (Film) sug: subj: Ruttmann, Walter Vertov, Dziga, 1896-1954 Music Avant-garde music Man With a Movie Camera (Film) ab: Scholars tend to conceive of city symphony films in terms of a musical analogy that likens their formal elements to those of a musical work. This article argues instead that those elements are also an inaudible expression of sound. It traces the influence of sonic avant-garde composers such as Luigi Russolo, Arseny Avraamov, Oskar Fischinger, and Rudolf Pfenninger on the dynamics of Walter Ruttmann's Berlin, Symphony of a Great City and Dziga Vertov's Man with a Movie Camera. This influence manifests itself in two distinct techniques of inaudible sound: (1) the generation of 'visual noise' through fast editing speeds and motion blur, and (2) the treatment of motion as sound. These techniques invoke sonic practices that stem from the rise of noise as a social, aesthetic, and technological problem in the early twentieth century, as well as the development of technologies such as the phonograph for understanding and reproducing sound. In sounding the inaudible, Vertov and Ruttmann's films construct a fluid exchange of senses that addresses the shifting aesthetic and political implications of sound as a multi-sensory phenomenon in modernity. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Music, Sound & the Moving Image is published by Liverpool University Press, and its content may not be copied or emailed to multiple sites or posted to a listserv without Liverpool University Press's express written copyright permission. However, users may print, download, or email articles for individual use. item: Music, Sound & the Moving Image holder: Liverpool University Press / Journals dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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