Music as an Element of Narration in Poetic Documentaries

Authors: Stutterheim, K.

Editors: Deutsch, S., Sider, L. and Power, D.

http://www.euppublishing.com/loi/sound?widget=journaleditorialboard#de6dc34d-c714-4ed7-8457-32996500e695-b6de7b7c-de82-45a5-9538-313dd15c6659

Start date: 30 August 2016

Journal: The New Soundtrack

Issue: 2017

Place of Publication: Eding

ISSN: 2042-8855

Music, sound and rhythm are part of the tradition of poetic documentary film since early times, like for any other film production. This is obvious for films like ‘MAN WITH A MOVIE CAMERA’ and ‘ENTHUSIASM. SYMPHONY OF THE DONBAS’ (both by Dziga Vertov), ‘RAIN’ by Joris Ivens (music Hanns Eisler), or ‘BERLIN. SYMPHONY OF A CITY’ by Ruttmann, and leads to ‘THE END OF TIME’ by Peter Mettler or ‘PEARL BUTTON’ by Patricio Guzman (F/D/Ch 2015). For films like these directors are using rhythm, music and sound design as equal element of the overall dramaturgy. Discussed will be examples operating with soundscapes, keynotes, themes and motives, sound design and chosen music. Sounds of the environment and music do have referential meaning. How this is part of conceptual thinking whilst developing and directing a documentary will be the central focus of this essay.

This data was imported from Web of Science (Lite):

Authors: Stutterheim, K.

Journal: NEW SOUNDTRACK

Volume: 8

Issue: 2

Pages: 103-117

eISSN: 2042-8863

ISSN: 2042-8855

DOI: 10.3366/sound.2018.0124

The data on this page was last updated at 04:51 on November 17, 2018.