Music as an Element of Narration in Poetic Documentaries
Authors: k.stutterheim@khm.de:Stutterheim, K.
Journal: NEW SOUNDTRACK
Volume: 8
Issue: 2
Pages: 103-117
eISSN: 2042-8863
ISSN: 2042-8855
DOI: 10.3366/sound.2018.0124
https://eprints.bournemouth.ac.uk/30669/
Source: Web of Science (Lite)
music as moment of narration in poetic documentaries
Authors: k.stutterheim@khm.de:Stutterheim, K.
Editors: Deutsch, S., Sider, L. and Power, D.
Journal: The New Soundtrack
Issue: 2017
ISSN: 2042-8855
Abstract: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.
https://eprints.bournemouth.ac.uk/30669/
Source: Manual
Music as element of narration in poetic documentaries
Authors: k.stutterheim@khm.de:Stutterheim, K.
Journal: New Soundtrack
Volume: 8
Issue: 2
Pages: 103-107
ISSN: 2042-8855
Abstract:Music, sound and rhythm, as aesthetic means of design, have been part of the tradition of poetic documentary film from its early history. This paper discusses various examples of this genre, all of which use soundscapes, sound design, and music. Music can be either specially composed for the film or previously published. Internationally known for their musical and poetic qualities are films such as, Man with a Movie Camera (Dziga Vertov, 1929), Rain (1929) by Joris Ivens, and Berlin, Symphony of a City by Walter Ruttmann (1929), to name but a few outstanding examples. Among the most recent documentaries using music as a narrative element are The End of Time by Peter Mettler (2012) and Pearl Button by Patricio Guzman (2015). The notion of music and rhythm as embodying meaning also applies to silent films, such as Manhatta, a poetic documentary about Manhattan (Strand & Sheeler, USA 1921). ‘Poetic documentaries’ use sounds of the environment as well as of music to convey a dramaturgical meaning. How these sounds inform the conceptualisation and realisation of creative/poetic documentaries is the central focus of this paper.
https://eprints.bournemouth.ac.uk/30669/
https://www.euppublishing.com/doi/full/10.3366/sound.2018.0124
Source: BURO EPrints