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    Paris qui dort vs Cinemusica: different models of merging moving images with sound (summary)

    | 2006-10-30 | 12:44
    temos: ENGLISH

    Merging the visual material of old films with newly composed music has become a synthetic artform in its own right. Such synthesis can take different forms: from simply augmenting a silent film with a new soundtrack to radically rearranging and processing the image and making it into a sort of “image track” for the music. In the first case, the sound is just a means to “expand” and revitalize the silent film, adapting it to the “multichannel” perceptual schemes of today’s viewer. In the second one, the relationship is much more complicated: the image may be cut, collaged and desynchronized, becoming alienated from itself or revealing new shades and layers of meaning.

    Gaida 06, the festival of actual music taking place in Vilnius, featured both types of old image / new sound synthesis. In the concert titled Paris Qui Dort, the acoustic ensemble, assisted by the sound engineers of the music research institute IRCAM, performed a real-time electroacoustic soundtrack (composed by French composer Yan Maresz) to Rene Clair’s classic. Meanwhile, the Lithuanian composers’ cycle titled Cinemusica: (un)silent Lithuanian cinema explored a totally different approach, cutting the old Lithuanian films into pieces and constructing new audiovisual narratives (or eliminating them altogether). While the second approach was more intriguing, it did not always achieve an equally strong aesthetic effect.
     

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