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Four Views of Cinema: Searching for Ways of Experiencing Films

Four Views of Cinema: Searching for Ways of Experiencing Films timbre of a voice. We see and hear intensely by alternating our attention. The ‘gaps’ between the sounds and the images invite us in to a more intimate relation with the film. It is a looser, more natural rhythm, nearer the way we see in life. Our alternating attention between picture and sound can be sensuously rhythmic. We find that we give more of ourselves. As if we were dreaming – flying imaginatively in the film, rather than observing it from the ground. I probably did not understand this at the time but I knew that I had ´ encountered in L’eclisse a different, exciting way of making and of seeing films. I had grown up seeing films at the Odeon where the emphasis was on acting. There you had to concentrate on the actors to connect with the film. Not contemplating the frame from a distance, as in Antonioni’s film, but locked into the actors’ professional storytelling. Submerged in the film, you watched in a state of constant expectation – in a kind of elongated bubble of following and anticipating events. The film ensured that your curiosity was never satisfied. You were not in the instantaneous present http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Four Views of Cinema: Searching for Ways of Experiencing Films

Rees, Charles
The New Soundtrack , Volume 1 (1): 73 – Mar 1, 2011
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2011.0007
Publisher site
See Article on Publisher Site

Abstract

timbre of a voice. We see and hear intensely by alternating our attention. The ‘gaps’ between the sounds and the images invite us in to a more intimate relation with the film. It is a looser, more natural rhythm, nearer the way we see in life. Our alternating attention between picture and sound can be sensuously rhythmic. We find that we give more of ourselves. As if we were dreaming – flying imaginatively in the film, rather than observing it from the ground. I probably did not understand this at the time but I knew that I had ´ encountered in L’eclisse a different, exciting way of making and of seeing films. I had grown up seeing films at the Odeon where the emphasis was on acting. There you had to concentrate on the actors to connect with the film. Not contemplating the frame from a distance, as in Antonioni’s film, but locked into the actors’ professional storytelling. Submerged in the film, you watched in a state of constant expectation – in a kind of elongated bubble of following and anticipating events. The film ensured that your curiosity was never satisfied. You were not in the instantaneous present

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2011

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