Honegger theorized in 1931 that, in sound film, music's “autonomy” would free it from the burden of mimesis. For Rapt, the musically trained Dimitri Kirsanoff used independent financing to collaborate from the start with Honegger and Arthur Hoérée on what the director called “a hybrid form … in which music, image, and dialogue work together.” The innovative electroacoustic and sound editing techniques in the soundtrack for Rapt have, I argue, overshadowed the strikingly reciprocal relationship between the soundtrack's more conventional instrumental underscoring and the images on screen. For Les misérables, Raymond Bernard, who was under contract at Pathé-Natan to direct big-budget theatrical films that would compete with Paramount's French-language productions, expected Honegger to provide intermittent orchestral underscoring for already filmed sequences that privileged dialogue over music. Arthur Honegger composed his first sound film scores in 1933–34.
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